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MARCH 19. -- Reviewed the preceding lesson, and practised raising the fingers from the knuckle joint. I explained whole notes, and she played them while I beat time upon her shoulder. In teaching rhythm I allow her first to beat it upon a desk and then play it upon the piano.

MARCH 20. -- Experimented with the metronome, which may be of assistance in teaching rhythm, for, by touching the pendulum lightly with the thumb and forefinger, she can feel its vibrations. I explained halves and quarters, and she played an exercise in whole notes.

MARCH 21. -- Continued practice in rhythm with the aid of the metronome.

MARCH 23. -- Study of rhythm continued. Helen seemed less quick in grasping the ideas presented, but redeemed herself on March 24, when she did excellent work. Tested her by playing and counting unevenly. She laughed, and said, "Not quite right." That she can make this distinction is encouraging.

MARCH 25. -- Explained the bar, or measure. Helen learned an exercise in quarter notes.

MARCH 26, 27, 28 and 30. Continuation of the same work.

MARCH 31. -- She learned an exercise for both hands, in different keys.

APRIL 6. -- Began teaching Helen the Braille musical notation, which she comprehends readily.

APRIL 8. -- Helen learned an exercise introducing eighths;

APRIL 16. -- She finished a little piece.

APRIL 18. -- A lesson upon three-four time, during which she asked, "Do we have two-four measure, -- two quarters?" which proves that she has given some thought to the subject.

APRIL 21. -- Helen learned another exercise in eighth notes. She said, "I have practised a great deal and struggled hard with my difficulties."

MAY 4. -- Several lessons have been spent upon a little piece called "The Echo," which she finished reading today. As a rule, Helen remembers her lessons very well, but occasionally she is obliged to re-read her music.

MAy 12. -- For a week we have been practising "The Echo." Helen has had difficulty in remembering it, but this afternoon she played it correctly. I read to her a few measures of "Home, Sweet Home," which introduces double notes and changes of fingering.

MAY 14. -- Tried the experiment of having Helen play "The Echo" with expression, believing that the manner in which she presses the keys and the stronger vibrations will tell her when she is playing louder.

JUNE 1. -- My belief proved to be correct.

Taking into account the short time which Helen has devoted to music, and its frequent interruptions, her progress has been excellent. She has indeed struggled nobly with her difficulties.

Helen has also learned a great deal of dynamics and the relation of muscular force to loud and soft effects. It is obvious, that her artistic sense is not an exotic plant; it is inherent in her nature. It springs from those finer emotions which make the organization of the soul, and it affects the whole of her being. Her gracefulness of bearing, no less than her faculty of appreciation of the accord of sweet sounds, is fed from within, and not cultivated from without. It is the instinctive expression of certain orderly and unconscious habits of feeling, foremost among which is sensitiveness to rhythm and response to it.

On the occasion of the commencement exercises at Tremont Temple Helen was introduced by Dr. Samuel Eliot, and played the little piece "Echo," which is mentioned in Miss Riley's notes. Her appearance on the platform in the capacity of a student of music was a perfect astonishment to all.

"Her graceful innocence, her every air
Of gesture, or least action, over-aw'd"

the audience, while her performance was heartily applauded for the absolute correctness which characterized it from beginning to end. Far be it from my intention to give the impression that Helen's playing was anything more than elementary; yet it was much more than could be accomplished in so short a time by any other blind child of her age. Moreover, the scene was one of absorbing interest. It was singularly charming to see her sitting at the pianoforte and moving her beautiful fingers over the keyboard with entire freedom and accuracy, and with striking confidence.

"Orpheus' self might heave his head
From golden slumber on a bed
Of heap'd Elysian flowers, and hear
Such strains as would have won the ear
Of Pluto, to have quite set free
His half-regained Eurydice."

Ocular Proof of Helen's Progress.

"Let proof speak."
Shakespeare.

Helen's march from the depths of seclusion and ignorance to the lofty regions of mental freedom and knowledge was a series of momentous triumphs, which dazzled the senses and captivated the imagination of all beholders. Her progress in the fields of learning is without parallel, and most of her attainments, judged by the common standard, seem incredible. Hence, in order to prove their reality and dispel all doubts as to their magnitude, we can offer no better and more convincing evidence than that which is afforded by her own writings. The specimens of these, which have been selected, represent two different periods in the course of her education, -- the earliest period and a recent one.