the means by which he may enter into the consciousness of the highest civilization through the book and the daily newspaper. In this school the pupil learns reading, writing, and arithmetic-those simple tools of thought which enable the individual to learn what the human race is doing and has already done. The Indian may from day to day and year to year learn the wisdom of the race stored up for all who can read and understand the printed page. By his trade he may furnish himself food, clothing, and shelter, and he may buy books for himself, books written by the wisest of the race. This school teaches him a tradeit may be how to make shoes or harnesses, it may be how to make bread or to cook other food, it may be the trade of a carpenter, the trade of the blacksmith. He learns here the foundation of the simple trades, and he learns how to make machinery and how to direct and control it.

More than all this, he learns the political and social ideas which are most important for him, coming as he does from a tribe and with tribal ideas. He learns how to value the white man's civilization and how to prefer it to his own, dear as his own has become to him because of early association. All of the Indian's pride and self-respect, all of his bravery and individuality, may be preserved by the blessings of this school and other schools founded on its methods.

We are learning each year some new lesson regarding the capacities of the Indian for entering into the white man's civilization. On my previous visit to this school I heard the band perform a piece of Beethoven's, not only with accurate technique but with the feeling and spirit in which the piece had been written. It is astonishing to know that an individual brought up in a tribal civilization can find expression for himself in the highest musical form of art which Germany has furnished to the world. For German music with its double counterpoint can express as nothing else is able to do the deepest feelings of the heart.

I have called our civilization the white man's civilization. We have read with great interest the new and higher definition of "The white man's burden," as stated by the greatest of living poets. The white man proves his civilization to be superior to other civilizations just by this very influence which he exercises over the peoples that have lower forms of civilization-forms that do not permit them to conquer nature and make the elements into ministers of his power; forms of civilization which do not sum up for each individual the ideas of all mankind through all ages, but rather which limit him exclusively to the experience of his own tribe, and which fail to give him an understanding even of that. The graduates of this school will as citizens of this nation take up the white man's burden.

I will ask the graduating class to come upon the platform and receive their diplomas. Members of the graduating class, allow me to congratulate you on the completion of your course in this institution. These diplomas will testify to your graduation. But your after lives will testify in a much more effective way to the reality of this fact, for if you are true to the instructions received here your lives will be a continuous progress up the ladder of civilization. You will more and more learn to direct and control matter and force, and you will more and more learn to master the deepest ideas which the thinkers and investigators of the world have left for us preserved in printed words. Through the literature, the music, the paintings, and sculptures of the world you will learn to understand the motives that have governed the lives of men-not only of white men in America, but of men of all colors in Europe, Asia, Africa and the islands of the sea. And above all let me urge upon you to study the motives of the people of Rome, those people who spoke Latin. For from them our civilization has received its forms of law by which it executes justice in the world and makes each person reap the fruit of his own deeds.

It must surprise you at first when you find that the civilization of the world is a derivative one, and not one invented by a particular nation. The highest civilization is a compound product coming from all the peoples that have lived and worked on this planet. Each nation has made some contribution to civilization, but the contributions are not all of equal value. What we get from Rome is of a very high order of value because it enables us to live with more individual freedom than under any other form of government. It enables us to allot our lands in severalty and for each head of a family to have a house or a farm for himself

and direct his own business affairs. This independence of each citizen from another is balanced by a deep sense of the solidarity of the whole, for in his political life in the state each individual devotes his property and his life for the safety of the whole. This lesson of independence within the family, and by means of private property on the one hand and of division of property and life for the safety of the whole has been taught us by Rome, and I commend to all scholarly Indian pupils at this institution a careful study of that source of our civilization.

I hope that you will all remember Major Pratt's doctrine as to the necessity of leaving tribal life and adopting a civilization founded on productive industry. But you must continue your studies in this line so that you will be ready to solve one after the other the problems which arise on your life journey. You must become the teachers of the doctrine which you have learned. You will find surprising results in studying the influence of the association of your race upon the white race. As I was looking yesterday at the military maneuvers of your highest classes I could not but think of the fact that the Indian's fight has been a skirmish fight, and not a method of fighting by phalanx or legion-that is to say, the massing of troops into solid bodies by careful discipline—and yet the white colonist in · America learned from the Indian how to fight by skirmish lines. It has been suggested that the immense extension of skirmishing which developed here in the so-called French and Indian war was carried back to Europe both by the French and by the English, and under the masterly mind of Napoleon, who combined it with the method of concentrating an artillery fire upon a certain point, it became a new method of handling armies. Fighting a battle in column succeeded to the old tactics of fighting by lines. I think that you will be able to learn many particulars in which the white people of civilization have profited by the life of the Indian.

I must close my remarks to you by repeating for you the definition of civilization, a definition by which you can rightly measure and criticise the forms of civilization in which you have been trained yourselves and likewise those forms which are offered to you as - substitutes—inquiring whether a civilization offers to those who embrace it the ability to know nature and the ability to apply it by labor-saving inventions so as to decrease human drudgery-and at the same time increase the production of food, clothing, and shelter. You must inquire still more earnestly what means it gives to those who embrace it to enter into a possession of the experience of the race, to understand the evolution of human institu tions-the family, civil society, the state, the church—and see the continuous growth of an ability on the part of each individual to participate in the fruits of all human living. And above all learn to apply the highest and the deepest of the principles of civilization, namely, the principle that makes it the highest honor of each individual to sacrifice his individual life for the lifting up of the downtrodden, the giving of light to those who sit in darkness, and the increase of self-activity and directive power on the part of cach, using the means and opportunities with which each one is endowed to extend these high privileges to all.

II. ART EDUCATION THE TRUE INDUSTRIAL EDUCATION.a We have heard much said on the subject of industrial training in recent years. It would seem that there is no educational subject that occupies the mind of the public more extensively at the present time. There is, however, not an entire agreement among its agitators as to the exact nature of the education demanded for industry. It is the object of my paper to assist in clearing up this question of the best form of training for profitable work in the industries.

One will concede at the start that tool work is valuable as industrial training, and that especially the course of study and work in the manual-training school is valuable because

a A paper-read by W. T. Harris before the Department of Art Education, National Educational Association, Nashville, Tenn., July, 1889.

it teaches how to manufacture tools and machines of all kinds and thereby gives the laborer a sort of command over the instruments of industry that assists him very much in his struggle for excellence in the fields of labor.

Still more valuable must we regard the study of natural science, and especially of applied mathematics, in the laws of matter and motion. It furnishes the theory of all machinery and of all production of supplies from nature.

Besides this, we may claim that general education is of the utmost importance, opening, as it does, the powers of thought and observation, giving each laborer an insight into human nature and fitting him for logical thinking on all subjects; fitting him alike to lead others and combine them in extensive undertakings and likewise to serve faithfully and intelligently other leaders when the case requires. This general education is indeed indispensable to the citizen and to the best quality of industrial people.

But æsthetic education—the cultivation of taste, the acquirement of knowledge on the subject of the origin of the idea of beauty (both its historic origin and the philosophical account of its source in human nature), the practice of producing the outlines of the beautiful by the arts of drawing, painting, and modeling, the criticism of works of art with a view to discover readily the causes of failure or of success in æsthetic effects-all these things we must claim form the true foundation of the highest success in the industries of any modern nation. The dynamic side is needed, but invention of the useful does not succeed in controlling the markets of the world. A nation with its laborers all educated in their taste for beautiful forms will give graceful shapes to their productions and command higher prices for them. The graceful shape and the proper ornamentation charm the purchaser, and he willingly pays a higher price for the beautiful article of usefulness if it is made by an artist than if it is made by a mere artisan.

On another occasion I have called attention to the backward state of Swedish education in æsthetic art. Sweden is the leader in the manual-training movement, but her educators have not yet seen the importance of developing correct taste among the laborers as a condition of industrial success. Accordingly we find that ingenuity is increasing to some extent in that country, but that there is no improvement in the artistic finish and ornamentation of their goods. Clumsy shapes and incongruous ornament are the characteristics of Swedish goods. Other nations do not want such ugly shapes in sight and do not buy them. To have ugly utensils perpetually in view gradually works degeneration in one's taste. The figures of our commercial reports show that we import raw materials from Sweden, but do not buy their manufactures. In the official report of commerce and navigation of the United States for 1881 the imports from Sweden and Norway are reported as pig iron, $111,176; bar iron, $517,959; old and scrap iron, $114,883; total, $744,018; but of manufactures of iron and steel only $111,749 are reported. It is surprising to note that we imported wood manufactures from them only to the small amount of $137, while we imported rags for paper manufacture to the amount of $39,090, but no manufactured clothing to speak of. The same year Belgium sent us wood manufactures to the value of $118,146, or nearly one thousand times the value of the same item from Sweden and Norway.

In 1851, at the World's Exposition in London, it became evident that English industries were not of such a character as to compete with those of France and Belgium. Prince Albert, wise and thoughtful as he was, set about a deep-reaching system of education that should correct the national defect and recover the prestige of British arts and manufac tures. The South Kensington Museum was established, and day and evening art schools set up in all manufacturing centers. The museum placed at its foundation a collection of works of art showing the history of art-its beginnings, its high-water marks, and its fiuccuations. On this basis instruction was given in those forms of ornamentation that the world has pronounced beautiful. There began from this time a gradual rise in the taste of the English workman; from being an artisan pure and simple he began to be an artist. England has gone forward rapidly in the direction of producing works of taste, and her useful manufactures, heretofore made without reference to beauty, have improved in tastefulness of design and execution.

The establishment of a great national art gallery, the Louvre, and the studies of French savants in the canons of good taste had long before revolutionized French manufactures and given France the supremacy in the world market for goods that command high prices and ready sale.

Taking hint from England, we have had in this country something of the fever for education in art, especially in the lines of industrial drawing. Remarkable as has been our progress in the matter, yet there is a prevalent lack of insight into the true direction and significance of this branch of industrial drawing. We have had much stress laid on geometric drawing and the construction of working drawings, as well as the old-fashioned system of drawing pictures of objects, and we have had much invention of original designs, founded on the basis of regularity and symmetry, but we have had very little of a really high order of æsthetic.

In order to explain this statement, I ask your attention to a discussion of some general ideas on the theory of art with a view to show the object of art and its historical realization. This will help to explain to us why art exercises and has exercised so much influence in the world, and why it dominates still in the market of industrial productions. Wealth demands the aesthetic. The days of poverty may be satisfied with the useful.

Let us inquire into the scope of art and see its function, whether serious or trivial, whether elevating er degrading to the soul. Let us study it, in short, in its relations to religion as well as in its relations to industry, because only in this serious aspect can it justify for itself its high place in the esteem of mankind.

There is the theory that the primary function of art is amusement. What makes this degrading theory plausible is the fact that there is sensuous enjoyment in the contemplation of works of art. But if we analyze this effect we shall trace even it to something higher than

sensuous sources.

The sensuous elements in art are regularity, symmetry, and harmony.

some sort.

1. Regularity is recurrence of the same-mere repetition. A rude people scarcely reaches a higher stage of art. The desire for amusement is gratified by a string of beads or a fringe of It is a love of rhythm. The human form divine does not seem beautiful to the savage. It is not regular enough to suit his taste. He must accordingly make it beautiful by regular ornaments, or by deforming it in some way; by tattooing it, for example.

Why does regularity please? Why does recurrence or repetition gratify the taste of the child or savage? The answer to this question is to be found in the generalization that the soul delights to behold itself, and that human nature is "mimetic," as Aristotle called it, signifying symbol-making. Man desires to know himself and to reveal himself, in order that he may comprehend himself; hence, he is an art-producing animal. Whatever suggests to him his deep, underlying spiritual nature gives him a strange pleasure. The nature of consciousness is partly revealed in types and symbols of the rudest art. Chinese music, like the music of very young children, delights in monotonous repetitions that almost drive frantic anyone with a cultivated ear. But all rhythm is a symbol of the first and most obvious fact of conscious intelligence or reason. Consciousness is the knowing of the self by the self. There is subject and object, and the activity of recognition. From subject to object there is distinction and difference, but with recognition sameness or identity is perceived, and the distinction or difference is retracted. What is this simple rhythm from difference to identity but regularity. It is, we answer, regularity, but it is much more than this. But the child or savage delights in monotonous repetition alone, not possessing the slightest insight into the cause of his delight. His delight is, however, explicable through this fact of the identity in form between the rhythm of his soul-activity and the sense-perception by which he perceives regularity.

The sun-myth arises through the same feeling. Wherever there is repetition, especially in the form of return-to-itself, there comes this conscious or unconscious satisfaction at beholding it. Hence, circular movement, or movement in cycles, is the most wonderful of all the phenomena beheld by primitive man. Nature presents to his observation infinite differ

ences.

Out of the confused mass he traces some forms of recurrence-day and night, the

phases of the moon, the seasons of the year, genus and species in animals and plants, the apparent revolutions of the fixed stars, and the orbits of planets. These phenomena furnish him symbols or types in which to express his ideas concerning the divine principle that he feels to be First Cause. To the materialistic student of sociology all religions are merely transfigured sun-myths. But to the deeper student of psychology it becomes clear that the sun-myth itself rests on the perception of identity between regular cycles and the rhythm which characterizes the activity of self-consciousness. And self-consciousness is felt and seen to be a form of being that is not on a par with mere transient, individual existence, but rather the essential attribute of the divine being, Author of all.

Here we see how deep-seated and significant is this blind instinct or feeling which is gratified by the seeing and hearing of mere regularity. The words which expres the divine in all languages root in this sense-perception and æsthetic pleasure attendant on it. Philology, discovering the sun-myth origin of religious expression, places the expression before the thing expressed, the symbol before the thing signified. It tells us that religions arise from a sort of disease in language which turns poetry into prose. But underneath the æs hetic feeling lies the perception of identity which makes possible the trope or metaphor.

2. Symmetry. Regularity expresses only the empirical perception of the nature of selfconsciousness and reason. There is, as we have seen, a subject opposed to itself as object. Opposition or antithesis is, however, not simple repetition, but opposition. The identity is therefore one of symmetry, instead of regularity. Symmetry contains and expresses idenity under difference. We can not put the left-hand glove on our right hand. The two hands correspond, but are not repetitions of the same. It is a mark of higher æsthetic culture to prefer symmetry to regularity. It indicates a deeper feeling of the nature of the divine. Nations that have reached this stage show their taste by emphasizing the symmetry in the human form by ornaments and symmetrical arrangement of clothing. They correct the lack of symmetry in the human form in the images of their gods. The face is on the front side of the head, but the god shall have a face on the back of his head, too, to complete the symmetry. The arms directed to the front of the body must also correspond to another pair of arms directed in the opposite direction. Perhaps perfect symmetry is still more exacting in its requirements, and demands faces with arms to match on the right and left sides of the body. To us the idols of the ancient Mexicans and Central Americans seem hideous. But it was the taste for symmetry that produced them.

3. Harmony is the object of the highest culture of taste. Regularity and symmetry are so mechanical in their nature that they afford only remote symbols of reason in its concreteness. They furnish only the elements of art, and must be subordinated to a higher principle. Harmony is free from the mechanical suggestions of the lower principles, but it possesses in a greater degree the qualities which gave them their charm. Just as symmetry exhibits identity under a deeper difference than regularity, so harmony, again, presents us a still deeper unity underlying wider difference. The unity of harmony is not a unity of sameness, nor of correspondence merely, but a unity of adaptation to end or purpose. Mere symmetry suggests external constraint; but in art there must be freedom expressed. Regularity is still more suggestive of mechanical necessity. Harmony boldly discards regularity and symmetry, retaining them only in subordinate details, and makes all subservient to the expression of a conscious purpose. The divine is conceived as spiritual intelligence elevated above its material expression so far that the latter is only a means to an end. The Apollo Belvedere has no symmetry of arrangement in its limbs, and yet the disposition of each limb suggests a different disposition of another, in order to accomplish some conscious act upon which the mind of the god is bent. All is different, and yet all is united in harmony for the realization of one purpose. Here the human form, with its lack of regularity and symmetry, becomes beautiful. The nation has arrived at the perception of harmony, which is a higher symbolic expression of the divine than were the previous elements. The human body is adapted to the expression of conscious will, and this is freedom. The perfect subordination of the body to the will is gracefulIt is this which constitutes the beauty of classic art: To have every muscle under

ness.