10. "Nature," meaning the established order of things. minus hunan interference, has been set up as the ideal educator whose processes we are to imitate. Thus Joseph Payne says (Lectures, p. 45): "How does nature teach? She furnishes knowledge by object lessons;" "She makes. her pupil learn to do by doing;" "She gives him no grammar of seeing, hearing, etc.;" "She adopts much repetition in her teaching;" "She teaches quietly;" "She does not continually interrupt her pupil;" etc., etc.

11. By the same school of writers, Art, as distinguished from "Nature," is an evil that has introduced countless ills into education, and is therefore to be sedulously shunned. Thus Rousseau (Emile, p. 1) says: "Everything is good as it comes from the hands of the Author of nature; everything degenerates in the hands of man."

12.

"Nature" is not the beneficent goddess and the infallible guide that the modern theory of education assumes. If "Nature" cures, she also kills; if she is kind and provident, she is also heartless and wasteful. Of herself, she is incompetent to produce an edible potato; much less a man fit for the difficult requisitions of his environment.

13. The actual state into which man is born is not a state of nature; but of nature transformed and improved by human art. In an atmosphere purged of some of its poisons; in lands reclaimed from thriftless "Nature;" in roads and bridges; in society and government; and in innumerable

--an expedient in the employment of which he has found but too many successors, as well as contemporaries and predecessors, he has saved himself no small quantity of trouble.

"Nature is a sort of fictitious personage, without whose occasional assistance it is scarce possible (it must be confessed) either to write or speak. But, when brought upon the carpet, she should be brought on in her proper costume-nakedness: not bedizened with attributes-not clothed in eulogistic, any more than in dylogistic, moral qualities. Making minerals, vegetables, and animals-this is her proper work; and it is quite enough for her: whenever you are bid to see her doing man's work, be sure it is not Nature that is doing it, but the author, or somebody or other whom he patronizes, and whom he has dressed up for the purpose in the goddess's robes." -Bentham, Chrestomathia, pp. 333-334.

ways that need not be named, each generation is born into a richer patrimony that it can not alienate. In the preparation of man's abiding place, Art has become a co-ordinate factor with Nature.

14. In things purely intellectual, there is no way to release the child from the ready-made productions of art and remand him to the hands of "Nature.” "Classifications, which we are unable to form for ourselves, are, from the earliest dawn of intelligence, given to us, already formed by others. The child, in learning to give names to the objects placed before him, and to repeat those names at each recurrence of the objects, learns, unconsciously to himself, to perform the arts of reminiscence and generalization, along with that of sensation, and advances by imperceptible degrees to a definite consciousness."-(Mansel, Metaphysics, p. 45.)

15. In the nomenclature of the new education* the term "order of nature," has an important role; a process has an adequate sanction when it is supposed to be in accord with the "order of nature." This phrase, like its parent "Nature," has not been defined by those who are so fond of employing it; but if we may be guided by the ordinary signification of words, it means the order of creation, or the order of human experience or of human progress as a whole, unaffected by the intervention of art. (1) From idea to term, from the concrete to the abstract, are instances of the "order of nature." And in the same sense, (2) from astrology to astronomy, from alchemy to chemistry, from sorcery to medicine, are other instances of the same kind. In another department, (3) the cave dwelling of primitive man, the hut of boughs, the log cabin, the framed house, is an "order of nature."

5. *Throughout these lectures I use this term to denote the system of instruction due to the recognized educational reformers,-Ratke, Comenius, Rousseau, Pestalozzi, etc.; while the system it displaced I call the old education,

16. Cases 1 and 2 are instances of what Mr. Spencer calls "the Genesis of knowledge in the race" (Education, p. 122); and he would have us believe that" the education of the child must accord both in mode and arrangement with the education of mankind as considered historically." At best this is but a "bold fiction." We can not educate a child after this manner if we would, for we can not sequester him from the ameliorations of human art; and it would be a very absurd thing to do, even if it were possible to do it.

17. We may grant that in its historical genesis knowledge was first concrete, then abstract; but it does not follow that the child must always observe this sequence. In the "order of nature," the idea doubtless preceded the term; but neither logic nor force can compel a child to observe this sequence. There is no There is no principle to determine an established sequence as between idea and term. Provided they both come, it is not material which comes first.

THE MUTUAL RELATIONS OF SCIENCE AND ART.

18. The term art is employed in three senses: 1. In distinction from nature; 2, in distinction from science; and 3, as applied to architecture, painting and sculpture. In this lecture, art is contrasted with science.

19.

"The principles which art involves, science evolves." -(Whewell.)

Even the simplest process is based on the relation of cause to effect. It therefore embodies, involves, or implicates some permanent uniformity or law. It is the province of science to evolve and explicate this latent uniformity or law. The

law of chemical combination is involved in the kindling of a fire. Chemical science will bring this latent law into clear consciousness, and then discover its presence in other phe

nomena.

20. "Science consists in knowing; art in doing."(Encyclopædia Brit.)

Art is satisfied with actually attaining a desired end, as when a smith welds two pieces of metal; science demands to know the reason of the process, and is concerned with the actual result only as it exemplifies a law. The chemist may never have welded two pieces of metal, and may never care to do so, but he knows the law that makes this process possible. The smith can perform the process, but can not explain it; the chemist can explain the process, but may never have performed it.

21. In every process, in every phenomenon, there are these two phases, the one outward and sensible, the other, inward and latent. The first yields a lower order of knowledge, easily attainable; the second a higher order of knowledge, attainable with difficulty.

These two orders of knowledge may be cultivated in entire independence of each other; and by a natural predilection most minds choose one phase to the neglect of the other. But the ideal knowledge is attained when practice has been guided, inspired, and perfected by theory; and when theory, in turn, has been corrected and perfected by practice. Among the advantages that art may derive from science are the following:

1. The power of re-vision and of pre-vision.

2. The ability to invent and to reconstruct.

3. Inspiration and versatility.

4. The transit from cause to effect may be shortened.

5. The inward satisfaction of working in the light and in an open field.

22. A science, being a compact body of doctrine, can be comprehensively taught*; while an art, being indeterminate in the variety and number of its cases, cannot be completely taught.

6. *"The whole of every science can be made the subject of teaching."-Aristotle.

We may teach the principles of science and leave each student to form for himself his own art, to teach himself how to employ these principles in practice.”—(Thomson.)

The most economical way to teach a liberal art, is to teach it implicitly, through the principles of its correlative science. A science is an art in posse; and experience is the occasion for its becoming an art in esse. A mind incapable of following the lead of a clear idea, is incapable of doing any work of high quality.

THE NATURE OF EDUCATIONAL SCIENCE.

23. We have long had an art of education, but a correlative science of education is only now in process of actual formation. We have methods, maxims, and processes, but no generally accepted criteria for testing their value.

Among the reasons why the theory of education has lagged so far behind the practice of education, the following may be mentioned:

1. Teaching has been merely an avocation, and therefore teachers have not felt a sufficient interest and zeal to induce them to make a scientific study of their art.

2. The results of malpractice are either masked or are very slow in appearing; and in consequence public attention is not strongly drawn to the need of a rational practice.

3. There has been a very general scepticism as to the need and even as to the possibility of a science of human training.

24. Education is a composite science, and in that division of it which treats of the conditions of growth, it assumes for its first principles the laws that have been established in other branches of scientific inquiry.

As education has mainly to do with the mind, educational science will derive the greater number of its principles from