this. The various efforts at training the individual-at working out from a central initiative-are indicative that the elements of life are still forming new and higher relationships. Such recent books as Swift's The Mind in the Making and Scott's Social Education furnish much material for the progressive student.

When one turns to that phase of constructive education which is indicated by the term art, the problems of the larger situation repeat themselves. This is evident in one of the most important discussions of the subject which has appeared in recent years. In this the distinction between the two aspects science and art is based upon the distinction between continuity and isolation. The discussion is very helpful but one feels that the general movement is toward dualism and the question arises of the means of getting from one world over into the other. It is as if the break in the chain of suggestions which compels adjustment and a redirection of response involving consciousness should be isolated as for that matter many logicians do isolate it. The particular case of art is so apart that the unity in which the scientific and aesthetic would each function is lost sight of and there is an over-emphasis upon the minor unity of the special instance-"the frivolous flirt" who is to be pictured as coquettish even to the ornaments on the wall may illustrate art of a certain type but we may be feeling after forms which while less specialized within themselves are still art altho they may lead beyond themselves. The particular experience may well require a pause in order that there may be an accumulation of appreciation which will by the force it thus gains give greater satisfaction, but this is only part of the story. The temporary isolation has its function and thru it there is experience which the unimpeded flow of suggestion could not give; but to take it as a thing apart because its distinctive value comes from its apartness makes for a dead aesthetic as the isolation of the proposition, significant as the product of a temporary holding-up and resorting of resources to bridge a gap-to meet a need, makes for a dead logic. In each case the isolation gives added value to an experience whose fuller significance is found in a larger situation.

The same problem arises in the statement of the psychological considerations. There is an anthropomorphic cast over it all which is a valuable asset; but as religion gains by transcending the notion of a deity who reflects man in bodily and mental characteristics, so art may profit by a larger range. One cannot but raise the question of the opportunity for change and progress in appreciation in a system in which an isolated impression stays in itself and draws into its circle only associations which make for "perfect isolation." If this is once attained how will it be gotten away from? The conclusion of this line of discussion well illustrates the results of this segregation and absolutism, activity becomes but a means and the real end is the old Aristotelian leisure an aesthetic Nirvana or New Jerusalem of "complete satisfaction," "complete harmonization," "complete fulfillment." There is unity and there Münsterberg, Principles of Art Education.

I

is diversity-leisure and activity, but why make one an end to the other? Life has place for both-they follow each other and enrich each other, but the end is in neither by itself.

The important fact is the function in the larger whole of the isolation or damming up whether of thought or emotion. It is this that makes possible studying, considering, evaluating, appreciating. To arouse interest and to fall back upon experience when one possesses it are much easier problems in education than is the bringing about of the lingering over the object of momentary interest with the artist's eye and touch in order to get at the meaning it can convey to the observer. That is study in a real sense and with it comes readiness to see anew the experience that has proved useful and to see in it. more and more meaning that may dispossess some cherished past impressions. As one lies at quarantine near New York, in the early morning there is a succession of visions-Whistler, Pennell, and even Turner effects. Everyone on deck seems impressed but there are few who seem to be able to keep a scene in mind long enough to get more than a snap shot. The current of suggestion is uncontrolled and they are borne on to something else which quickly yields. in turn to another suggestion.

It is these two phases, individual and social, which I wish to dwell upon. In the individual's experience there is that participation in the abiding, that staying-by, going over and over, which with the right emotional tone is joy and without it drudgery-some phases of it in school work are called drill. There is nothing in this inconsistent with change and progress. It is the lack of attention to it that has laid the so-called new education open to the charge or impermanence and superficiality. In no consideration of moral or religious education can this factor in character-making be disregarded.

On the social side wider ranges are attaining their freedom. Athene Ergane, the guardian of art and invention, must reach far beyond the Acropolis in the rapid extension of her territory. She finds that the machine and other industrial developments which seemed for a time antagonistic to her world are means of widening her realm. Public-school drawing seemed far from art but the insistent patient work on the part of leaders and workers with vision has led to results which conservative artists give time to consider. One most encouraging tendency is seen in the increasing participation of art experts in public-school interests. In one of our middle sized cities at the end of a year's work in which some time was given to bringing other community forces into relation to the school, within a week three artists of standing in painting, architecture, and music came to me and offered to give their spare time for a year to school interests in their lines. In connection with some of our private schools men of the first rank stand ready to give unstintedly of their time to the teaching specialists thus enriching the work of these institutions. As it has been said that the multiplication of distinctive social settlements is of ess importance than the increase of the number of homes which endeavor to meet near-at-hand social needs, so this outreaching of artists into service

other than their immediate special production makes for better art in their production and for an extension of the democracy of art. A few days ago I was walking along a country road in an eastern state and was so attracted by the signs of two shops-the Bayfield Shop and the Boundbrook Pressthat I stopped in each only to learn that a man of national importance in art matters felt it worth his while to spend part of his time helping his neighbors in the designing of furniture, mile posts, church and other building signs and even in the more artistic printing of local notices, the church weekly paper, etc. In one of our large schools a visitor after careful study remarked,

Nothing impressed me more than the way in which an artist of recognized ability has so made himself useful that without any assertion of authority on his part all turn to him for direction-the tinting of walls, the selection of pictures, the designing of furniture, manual-training projects, weaving designs, costumes, the coloring of Easter eggs. The harmony resulting from this coöperation and the utilization of the expert is an important educational factor.

The goddess will find that fields which have seemed to slip away from her dominion are coming again to her protection-the drama has an increasing art significance. The children's theater is bringing art into many barren. lives. There are risks and dangers and no doubt mistakes, but the trend is right. One of our poets after a careful study of the nickel theater has written. a poem in which he shows the resources of art there which we have been slow to recognize. Such pageants as have been given this year in the Boston and Brooklyn normal schools open up to all who took part in and observed them wide reaches of experience. The revival of the festival while marked by some unnecessary limitations points the way to a study of local conditions and a development of characteristic art-communications which can bring joy into many lives.

A large part of this has to do with that side of life in which man is a consumer; one must accept his responsibility as a producer as well. It is here that the individual elements referred to show us a serious weakness in our schools. We have wisely sought for scope-range-wide interest for our students but we have neglected the equally important requirement of intensity -depth. We provide very little opportunity for enough time on one line to permit the worker to reach anything like proficiency. We encourage him to skip from one point to another and there is no chance for the concentration— the storing-up and repetition which makes him in a small way an artist. Benson in one of his essays calls for a reorganization of the secondary curriculum with some definite focus of major interest. The Washington Irving High School in New York City after the first year arranges a girl's work so that she can give as much as fifteen hours of work a week to the graphic arts or to whatever her major may be. In some of the English boarding-schools a similar result is reached by emphasis upon hobbies. We need more experimentation in these directions-even in the elementary school I am convinced that there is a need at the same time of greater variety and more concentration.

In the classification given above with reference to products and processes I purposely neglected to discuss another division of the third class--the one which desires participation by the student in processes-into those who incline toward the classical and so insist that the value of the processes lies—to put it in extreme form-in its uselessness, its unproductiveness; while the other party measures the value of the process by its results either social, material, commercial-some form of remuneration being considered essential. This brings us to constructive education in relation to vocation. This is a much larger question than industrial training for it includes that and much more. It is closely related to the question of major studies suggested above and has a definite bearing upon artistic production. There is not time to discuss this problem here but in the present tendency to see certain sections of the educational situation very large it is well to bear in mind the outward swing of these sections and to relate the teachings of the various subjects, the agitation for industrial training, etc., to the larger social situation in which there is due regard for activity and leisure, continuity and isolation, science and art, logic and aesthetics.

A NEW BASIS OF ART EDUCATION

EMMA M. CHURCH, FORMER DIRECTOR, ACADEMY OF FINE ARTS,

CHICAGO, ILL.

It is a significant fact that year after year this earnest body of educators assembles, not to congratulate itself upon the perfection of our present educational scheme, but rather to discuss ways and means of its betterment.

There is a universal dissatisfaction with the hollowness of present-day life, with its insincerities, its injustices, and its selfishness, and we feel that at least a part of its cause lies in the inadequacy of the old education and its remedy in the new.

The ideal of the age has been and still is material wealth. It is to have, rather than to be. It is to keep up an appearance, not to live. We have attained what we sought, and lo, we find that it is at the expense of the deeper life of the spirit, at the expense of the real good and the real happiness. This madness of possession has tended to make us feel our individual separatenesss rather than our social dependence and has denied us a full realization of the fact that no man can exist unto himself alone, that he can only know his life's completeness when he has seen in the human brotherhood his greater self and finally the relationship of the individual and social self to the Absolute, the Oversoul, or God, or whatever we choose to call the Great Ultimate.

The world has long had this ideal. All of its great teachers have proclaimed it. Did not Plato declare it when he said,

He who would proceed aright should begin in youth to study beautiful forms; out of these he should create fair thoughts and soon he will perceive that the beauty of one form is akin to the beauty of another and he will soon become a lover of all beautiful

forms. In the next stage he will see the beauty of institutions and laws, and after laws and institutions he will go on to the sciences and, contemplating the vast sea of beauty, he will create many fair and noble thoughts until he grows and waxes strong and at last the vision is revealed to him of beauty absolute, simple, and everlasting. And what if a man has eyes to see true, Divine beauty? Do you not see that in communion, since he has hold not of an image but a reality, he will be enabled to become the friend of God and be immortal?

We might quote Buddha, Confucius, and many others.

It was the whole burden of Jesus' teachings to get men away from the world of their senses and to realize that the permanent thing and the only thing that is worth while is man humanized thru being spiritualized. To get them to understand that it is to know and obey the spirit of the law rather than its letter, "Seek ye first the kingdom of God and all these things shall be added unto you," and "The Kingdom of Heaven is within you," and "Love God with all thy mind, with all thy soul, with all thy strength, and thy neighbor as thyself.”

Twenty-five hundred years ago, Plato formulated what he thought should govern the education of this ideal Republic and five hundred years later, Jesus taught very nearly the same thing for the upbuilding of his spiritual kingdom, and today we are very far from a realization of these ideals in life.

The world keeps repeating these words to itself and continues to be blinded by the dazzling glitter of material gold and the glare of the limelight of fame. Our only life and only reality we perceive in the external, the tangible. Religion is defined by creeds, and the churches teach, not so much about the allpervading spirit, as they do about their peculiar way of conceiving and worshipping it. The question is not whether one is seeking the higher life but rather how is he doing it? If his way is not my way, he is a heathen; always the worship of the means.

The means of expression and not the essence expressed is also that by which we measure the worth of all forms of art. We say that music is beautiful sound, but it takes only our dog in the presence of the loveliest music that was ever produced to prove to us that the beauty must be native in the hearer, a quality of his consciousness. We speak of a beautiful building, canvas, or marble, and seldom realize that the beauty is within us and that the thing is merely vibrating to our inner consciousness the glow of sublimity that its creator felt. Things are merely a medium of communication between mind. and mind and between spirit and spirit. There are a few masterpieces in the world's art that are so surcharged with the thought and feeling of the artist, that are so little material in their appeal, that the thing is lost in a sense of a spiritual presence. Such an one is the marvelous Praxiteles' Hermes, in the presence of whose sublime dignity there is seldom a beholder who is so irreverent as to speak aloud.

The fact that we still respond to these great things with a spirit akin to that which created them is proof that we still possess the "divine fire," but our too practical training, our persistent feeling that the only reality is material, and