274 IDEAL HOME LIFE
wrong, find out the meaning that the writer has carelessly concealed, and such a process makes it certain that you yourself will remember his thought or his statement.
I can remember, I think, everything I saw in Europe which was worth seeing, if I saw it twice. But there was many a wonder which I was taken to see in the whirl of sightseeing, of which I have no memory, and of which I cannot force any recollection. I remember that at Malines—what we call Mechlin—our train stopped nearly an hour. At the station a crowd of guides were shouting that there was time to
go and see Rubens's picture of -----, at the church of -----.
This seemed to us a droll contrast to the cry at our stations, "Fifteen minutes for refreshments!" It offered such aesthetic refreshment in place of carnal oysters that purely for the frolic we went to see. We were hurried across some sort of square into the church, saw the picture, admired it, came away, and forgot it—clear and clean forgot it! I do not know what it was about any more than you do. But if I had gone to that church the next day, and had seen it again, I should have fixed it forever on my memory. Moral: Renew your acquaintance with whatever you want to remember. I think Ingham says somewhere that it is the slight difference between the two stereoscopic pictures which gives to them, when one overlies the other, their relief and distinctness. If he does not say it, I will say it for him now. •
I think it makes no difference how you make this mental review of the author, but I do think it essential that, as you pass from one division of his work to another, you should make it somehow.
Another good rule for memory is indispensable, I think, —namely, to read with a pencil in hand. If the book is you/ own, you had better make what I may call your own index to it on the hard white page which lines the cover at the end. That is, you can write down there just a hint of the things you will be apt to like to see again, noting the page on which