THE BEGINNING OF MUSICAL ART 355 These results have been attained in England by Dolmetch^ \vho, wishing to bring back into use the exquisite musical instru- ments of the past, now fallen into disuse owing to the predominance of the pianoforte, has had the brilliant idea of constructing simple instruments for children. The faith which Dolmetch has in the divine power of music, and also in the mind of the child, has led him to formulate a method which corresponds in principle with mine. (Properly adapted material; short introductions having the sole purpose of putting the child in touch with the material; and then the child left at liberty to play on his instrument.) In the magnificent English institution of Bedales, where •classes are held on the Montessori model, one may come across in the wood children playing the violin under a tree, or small groups trying to put together the tunes from some singular stringed instru- ment (between the simplified harp and the lyre). Again, we may hear delicate harmonies issuing from windows. Many of these children know nothing about theory or musical notes; they have never done rhythmic exercises. Musical development is fostered by the delightful performances into which the old, impassioned master breaks out wherever he may happen to be—in rooms, in the woods or in the fields. And the children sit all round about him, . stretched out on the grass, listening with rapt attention. In addi- tion to that, the training is represented by the opportunity which the children have of taking an instrument when the inspiration seizes them and trying to find some harmony which is rooted in their heart. MUSICAL READING AND WRITING It is also possible to make a start with the writing of musical notes in the Children's House. It is based upon sense exercises consisting of the recognition of the musical sounds of the material of the bells, which, in the first exercises are paired and afterwards are placed in graduated order.