and half in the library, you will get the idea of the recitation room. That is the place where the children bring the experiences, the problems, the questions, the particular facts which they have found, and discuss them so that new light may be thrown upon them, particularly new light from the experience of others, the accumulated wisdom of the- world -- symbolized in the library. Here is the organic relation of theory and practice; the child not simply doing things, but getting also the idea of what he does; getting from the start some intellectual conception that enters into his practice and enriches it; while every idea finds, directly or indirectly, some application in experience, and has some effect upon life. This, I need hardly say, fixes the position of the "book" or reading in education. Harmful as a substitute for experience, it is all-important in interpreting and expanding experience.
The other chart (IV) illustrates precisely the same idea. It gives the symbolic upper story of this ideal school. In the upper corners are the laboratories; in the lower corners are the studios for art work, both the graphic and auditory arts. The questions, the chemical and physical problems, arising in the kitchen and shop, are taken to the laboratories to be worked out. For instance, this past week one of the older groups of children doing practical work in weaving which involved the use of the spinning wheel, worked out the diagrams of the direction of forces concerned in treadle and wheel, and the ratio of velocities between wheel and spindle. In the same manner, the plants with which the child has to do in cooking, afford the basis for a concrete interest in botany, and may be taken and studied by themselves. In a certain school in Boston science work for months was centered in the growth of the cotton plant, and yet something new was brought in every day. We hope to do similar work with all the types of plants that furnish materials for sewing and weaving. These examples will suggest, I hope, the relation which the laboratories bear to the rest of the school.
The drawing and music, or the graphic and auditory arts, represent the culmination, the idealization, the highest point of refinement of all the work carried on. I think everybody who has not a purely literary view of the subject recognizes that genuine art grows out of the work of the artisan. The art of the Renaissance was great, because it grew out of the manual arts of life. It did not spring up in a separate atmosphere, however ideal, but carried on to their spiritual meaning processes found in homely and everyday forms of life. The school should observe this relationship. The merely artisan side is narrow; but the mere art, taken by itself, and grafted on: from without, tends to become forced, empty, sentimental. I do not mean, of course, that all art work must be correlated in detail to the other work of the school, but simply that a spirit of union gives vitality to the art, and depth and richness to the other work. All art involves physical organs, the eye and hand, the ear and voice; and yet it is something more than the mere technical skill required by the organs of expression. It involves an idea, a thought, a spiritual rendering of things; and yet it is other than any number of ideas by themselves. It is a living union of thought and the instrument of expression. This union is symbolized by saying that in the ideal school the art work might be considered to be that of the shops, passed through the alembic of library and museum into action again.
Take the textile room as an illustration of such a synthesis. I am talking about a future school, the one we hope, some time, to have. The basal fact in that room is that it is a workshop, doing actual things in sewing, spinning, and weaving. The children come into immediate connection with the materials, with various fabrics of silk, cotton, linen and wool. Information at once appears in connection with these materials; their origin, history, their adaptation to particular uses, and the machines of various kinds by which the raw materials are utilized. Discipline arises in dealing with the problems involved, both theoretical and practical. Whence does the culture arise? Partly from seeing all these things reflected through the medium of their scientific and historic conditions and associations, whereby the child learns to appreciate them as technical achievements, as thoughts precipitated in action; and partly because of the introduction of the art idea into the room itself. In the ideal school there would be something of this sort: first, a complete industrial museum, giving samples of materials in various stages of manufacture, and the implements, from the simplest to the most complex, used in dealing with them; then a collection of photographs and pictures illustrating the landscapes and the scenes from which the materials come, their native homes, and their places of manufacture. Such a collection would be a vivid and continual lesson in the synthesis of art, science, and industry. There would be, also, samples of the more perfect forms of textile work, as Italian, French, Japanese, and Oriental. There would be objects illustrating motives of design and decoration which have entered into production. Literature would contribute its part in its idealized representation of the world-industries, as the Penelope in the Odyssey -- a classic in literature only because the character is an adequate embodiment of a certain industrial phase of social life. So, from Homer down to the present time, there is a continuous procession of related facts which have been translated into terms of art. Music lends its share, from the Scotch song at the wheel to the spinning song of Marguerite, or of Wagner's Senta. The shop becomes a pictured museum, appealing to the eye. It would have not only materials, beautiful woods and designs, but would give a synopsis of the historical evolution of architecture in its drawings and pictures.
Thus I have attempted to indicate how the school may be connected with life so that the experience gained by the child in a familiar, commonplace way is carried over and made use of there, and what the child learns in the school is carried back and applied in everyday life, making the school an organic whole, instead of a composite of isolated parts. The isolation of studies as well as of parts of the school system disappears. Experience has its geographical aspect, its artistic and its literary, its scientific and its historical sides. All studies arise from aspects of the one earth and the one life lived upon it. We do not have a series of stratified earths, one of which is mathematical, another physical, another historical, and so on. We should not live very long in any one taken by itself. We live in a world where all sides are bound together. All studies grow out of relations in the one great common world. When the child lives in varied but concrete and active relationship to this common world, his studies are naturally unified. It will no longer be a problem to correlate studies. The teacher will not have to resort to all sorts of devices to weave a little arithmetic into the history lesson, and the like. Relate the school to life, and all studies are of necessity correlated.
Moreover, if the school is related as a whole to life as a whole, its various aims and ideals -- culture, discipline, information, utility -- cease to be variants, for one of which we must select one study and for another another. The growth of the child in the direction of social capacity and service, his larger and more vital union with life, becomes the unifying aim; and discipline, culture and information fall into place as phases of this growth.
I wish to say one word more about the relationship of our particular school to the University. The problem is to unify, to organize education, to bring all its various factors together, through putting it as a whole into organic union with everyday life. That which lies back of the pedagogical school of the University is the necessity of working out something to serve as a] model for such unification, extending from work beginning with the four-year-old child up through the graduate work of the University. Already we have much help from the University in scientific work planned, sometimes even in detail, by heads of the departments. The graduate student comes to us with his researches and methods, suggesting ideas and problems. The library and museum are at hand. We want to bring all things educational together; to break down the barriers that divide the education of the little child from the instruction of the maturing youth; to identify the lower and the higher education, so that it shall be demonstrated to the eye that there is no lower and higher, but simply education.
Speaking more especially with reference to the pedagogical side of the work: I suppose the oldest university chair of pedagogy in our country is about twenty years old -- that of the University of Michigan, founded in the latter seventies. But there are only one or two that have tried to make a connection between theory and practice. They teach for the most part by theory, by lectures, by reference-to books, rather than through the actual work of teaching itself. At Columbia,
