Kitabı oku: «Education: How Old The New», sayfa 8

The "Cambridge Modern History" in its preface said, that history has been a long conspiracy against the truth and that we must now go back once more to the original documents. "It has become impossible," the editors declare, "for the historical writers of the present age to trust without reserve even to the most respected secondary authorities. The honest student continually finds himself deserted, retarded, misled, by the classics of historical literature, and has to hew his own way through multitudinous transactions, periodicals and official publications in order to reach the truth." In no department of history is this expression more true than in that of education, and especially of science and the relation of educational institutions to scientific development. No man should now dare venture to say anything about the state of science at any time in the world's history who has not seen some of the books written at that time. Above all, no one should venture to make little of the past on the strength of what religiously prejudiced writers have said about it.

This story of the mediaeval universities is most illuminating from that standpoint. They were scientific universities closely resembling our own. It has become the custom to talk of them as if they were institutions of learning that accomplished nothing, and wasted their time over trifles. We often hear of how much time was wasted in dialectics in the Middle-Age universities, but surely it was not more than is wasted over technics in our modern university. Hundreds of books were written about the quips and quiddities of logic, but thousands of volumes are full of technics and most of our scientific journals are crowded with it. Let us, then, if for no other reason than our fraternity with them, begin to do justice to these old universities. Their scholars were ardent and zealous, their professors were enthusiastic and laborious. The tomes they issued were larger and their writings more voluminous than those of our own professors. They are hard reading, but no one must dare to criticise them unless he has read them, and, above all, no one must make little of them without knowing something about them at first hand. This is scholarship; the secondary information that has been popular is sciolism. Let us get back to scholarship. That is what we need just now in America.

IDEAL POPULAR EDUCATION

"According to my view he who would be good at anything must practise that thing from his youth upwards, both in sport and earnest, in the particular way which the work requires: for example, he who is to be a good builder, should play at building children's houses; and he who is to be a good husbandman at tilling the ground; those who have the care of their education should provide them when young with mimic tools. And they should learn beforehand the knowledge which they will afterwards require for their art. For example, the future carpenter should learn to measure or apply the line in play; and the future warrior should learn riding or some other exercise for amusement, and the teacher should endeavor to direct the children's inclinations and pleasures by the help of amusements to their final aim in life. The sum of education is right training in the nursery. The soul of the child in his play should be trained to that sort of excellence in which, when he grows up to manhood, he will have to be perfected. Do you agree with me thus far?"–Plato, Laws (Jowett), Vol. IV, p. 173. Scribner, 1908.

"There will be gymnasia and schools in the midst of the city, and outside the city circuses (playgrounds) and open spaces for riding places and archery. In all of these there should be instructors of the young."–Plato, Laws (Jowett), Vol. IV, p. 82. Scribner, 1902.

IDEAL POPULAR EDUCATION ¹²

We have come to realize in recent years that in many ways our education of the masses is a failure. Teaching people to read and write and occupying them with books till they are fifteen years of age, when all that they will use their power to read for is to devote themselves to three or four editions of the daily paper and the huge, overgrown Sunday papers on their only day of leisure, with perhaps occasional recourse to a cheap magazine or a cheaper novel, in order to kill time, as they frankly declare, is scarcely worth while. Indeed we have even come to realize that such education gives opportunity rather for the development of discontent than of happiness. The learning to write which enables a man to be a clerk, or a bookkeeper, the occupations that are, as a rule, the least lucrative, that are so full that there is no question of organizing them, that confine men for long hours in dark rooms very often and furnish the least possible opportunity to rise, is of itself not ideal. With some rather disconnected information this is practically all that our ordinary education teaches people, and yet we spend eight years and large sums of money on it. We are just beginning to realize that other forms of education and not these superficial introductions to supposed scholarship, which can mean so little, constitute realities in education.

We have come to realize that Germany, where it is said that more than sixty per cent. of the population has its opportunity for some technical training, so that men are taught the rudiments of a trade or a handicraft or some occupation other than that which shall make them mere routine servants of some one else, does far better than this. By contrast it is remarked that less than one per cent. of our children have the opportunity for such training. We are very prone to think, however, that the technical school is a modern idea. We assume that it owes its origin to the development of mankind in the process of evolution to a point where the recognition of the value of handiwork and craftsmanship has at length arisen. Nothing could well be less true than this. It is true that the eighteenth century saw practically no education of this kind and it was only at the end of the nineteenth century that any modern nation even began to wake up to the necessity for it. In the older times, however, and, above all, in the thirteenth and fourteenth centuries, there was a magnificent training afforded the masses of the people in all sorts of arts and crafts and trades and occupations, such as can now be obtained only in technical schools. They did not call these teaching institutions technical schools, but they had all the benefits that we would now derive from such schools.

This training the people of these times owed to the gilds. These were, of course, of many forms, the Arts Gilds, the Crafts Gilds, the Merchants Gilds, and then the various Trades Gilds. Boys were apprenticed to men following such an occupation as the youth had expressed a liking for, or that he seemed to be adapted to, or that his parents chose for him, and then began his training. It was conducted for five or six years usually in the house of the master or tradesman to whom he was apprenticed. The master provided him with board and clothes, at least, after the first year, and he gradually trained him in the trade or craft or industry, whatever it might be. After his apprenticeship was over the young man of eighteen or so became a journeyman workman and usually wandered from his native town to other places, sometimes going even over seas in order to learn the foreign secrets of his craft or art or trade, and after three years of this, when ready to settle down, presented evidence as to his accomplishments, and if this was accepted he became a master in his gild. If he were a craftsman or an artisan he made a lock or a bolt or some more artistic piece of work in the metals base or precious, and if this sample was considered worthy of them by his fellow-gildsmen he was admitted as a master in the gild. This was the highest rank of workman, and the men who held it were supposed to be able to do anything that had been done by fellow-workmen up to that time. The piece that he presented was then called a masterpiece, and it is from this that our good old English word masterpiece was derived.

This might seem a very inadequate training, and perhaps appeal to many as not deserving of the name of technical training or schooling. The only way to decide as to that, however, is to appreciate the products turned out by these workmen. It was these graduates of the apprentice-journeyman system of technical training who produced the great series of marvellous art objects which adorn the English cathedrals, the English municipal buildings, the castles and the palaces and the monasteries of the thirteenth century. It was the graduates of these schools, or at least of this method of schooling, who produced the wonderful stained glass, the beautiful bells, the finished ironwork, the surpassing woodwork, the sculpture, the decoration,–in a word, all the artistic details of the architecture of the wonderful Gothic periods of the thirteenth and fourteenth centuries,–which we have learned to value so highly in recent years. If we wanted to produce such work in our large cities now, we would have to import the workmen. These wonderful products were made in cities so small that we would be apt to think them scarcely more than insignificant towns in our time. No town in England during the thirteenth century, with the possible exception of London, had more than 25,000, and most of the cathedral towns were under 15,000 in population and many of them had less than 10,000.

The extent to which this teaching went and how much it partook of the nature of real technical training can be very well appreciated from recent studies of these early times. There has probably never been more beautiful handicraftsmanship nor better products of what we now call the arts and crafts than during the thirteenth and fourteenth centuries, when this system of educating the masses became thoroughly organized. Any one who knows the details of the decoration of the great Gothic cathedrals or of the monasteries and castles and municipal buildings of these centuries will be well acquainted with these marvels of accomplishment, scattered everywhere throughout England, France, Germany, Italy and Spain in this period. Something of the story of it all I tried to tell, as far as the cathedrals are concerned, in my book, "The Thirteenth the Greatest of Centuries." Those who care to see another side of it will find it in Mr. A. Ralph Adams Cram's "The Ruined Abbeys of Great Britain."¹³ Mr. Cram, himself a successful modern architect, does not hesitate to declare some of this work as among the most beautiful that ever was made, even including the ancient Greek and Roman productions. In his searches into the ruins of these old abbeys he has found mutilated fragments so consummate in their faultless art that they deserve a place with the masterpieces of sculpture of every age.

It was not alone, however, in the arts of sculpture and decoration, that is in those finer accomplishments that would occupy only a few of the workmen, but in every detail of adornment that these artistic craftsmen excelled. The locks and bolts, the latches and hinges, the grilles, even the very fences and gates made in wrought iron, are beautiful in every line and in the artistic efficiency of their designs. The carved woodwork is in many places a marvel. When a gate has to be moved, or a hinge is no longer used, or a lock or even a key from these early times goes out of commission, we would consider it almost a sacrilege to throw it away; it is transported to the museum–not alone because of its value as an antique but, as a rule, also because of its charm as a work of art. When a bench-end is no longer needed it, too, finds its way into the museum. As Rev. Augustus Jessopp has shown very clearly in his studies of the old English parishes, these marvels of iron and woodwork were made, in most cases, respectively by the village blacksmith and the village carpenter. In the archives of some of the parishes of the Middle Ages the accounts are found showing that these men were paid for them. When the village blacksmith and the village carpenter becomes the artist artisan capable of producing such good work, then indeed is there an ideal education at work and a technical training that may be boasted of.

The most important feature of this education remains to be spoken of, however. It consisted of the fine development and occupation of the mind that came from this system. Men found happiness in their work. In a population of less than 3,000,000 of people many thousands of workmen, engaged in building these magnificent monuments of that old time, reaped a blessed pleasure in the doing of beautiful things. They, too, had a share in the great monument of which their town was worthily proud and the opportunity to make something worth while for it. Instead of idly envying others they devoted themselves to making whatever their contribution might be as beautiful as possible. It might be only the hinges for the doors or the latch for the gates, it might be only the stonework for the bases of pillars, though it might be the beautiful decoration of their capitals; but everything was being done beautifully and an artist hand was required everywhere. Men must have tried over and over again to make such fine things. They were not done at haphazard nor at one trial. There must have been many a spoiled piece rejected, not so much by the foreman as by the critical, educated taste of the workmen themselves who were able to make such beautiful things. Men who could make such artistic products must have labored much and begun over and over again. This must have made the finest occupation of mind that a great mass of people has ever had in all the world's history.

American millionaires model the gates of their parks and the grille doors of their palaces under the wise direction of modern architects who fortunately know enough to follow the designs created by these village workmen of the olden time. Modern palatial residences are glad to have samples of the wood-carving of the thirteenth and fourteenth centuries as models for their decoration, and as attractive pieces around which present-day work may be done. We have to import our workmen, even our large cities cannot supply all that we want of them, and yet little towns of a few thousand inhabitants had them in sufficient abundance in the olden time to enable them to make every portion of their great monumental buildings, cathedrals, abbeys, universities, castles and town halls beautiful in every way. This represents the triumph of a technical training afforded by the gilds of workmen of the olden time. We have to insist on this because our present generation has been so sure that ours was the first generation that gave any serious attention to the education of the masses, that it is important to show by contrast how much of a mistake we have made and how well an older generation accomplished its purpose.

The chapter of the "Lost Arts" might well be told with regard to this old time. They had secrets in glass-making which were the tradition of the teaching of particular gilds that we have been unable to find again in the modern time. There is a jewel-like lustre to their colors that is sometimes simply marvellous in its depth and purity. At Lincoln the contrast between old and new glass can be seen very well. The old windows of the thirteenth century time were stoned out by the Parliamentarians when they captured the town, because forsooth they could have no such idolatry as that in their presence. The old sexton, who as man and boy for over sixty years had lived his life under the beautiful tints of the old glass, now saw it scattered upon the floor in fragments. He could not part with it thus and so he gathered it up into bags, broken to pieces though it was, and hid it away in the crypt. In the nineteenth century when they were restoring the cathedral they found these fragments of the old windows. They pieced them together and they proved to be so beautiful that, though they could not fit them as they were in the olden time, at least they succeeded in making a beautiful patchwork of colored glass.

Over on the other side of Lincoln Cathedral they then placed some new windows of the modern time. These were made in France, I believe. They were made about the middle of the nineteenth century, when stained-glass making was almost at its lowest ebb. They were considered to be very beautiful, however, and something like £20,000 sterling was paid for them. The contrast between the two sets of windows is very striking. The old windows are so beautiful, the new ones are so commonplace. The visitor, even though he knows nothing about art, notices the contrast and, if he has an eye for color, views with something of a shock this attempt of the nineteenth century to do something that had been so well done by the gild-trained workmen of the technical schools of the Middle Ages. Though they are represented here only by patched fragments of their work he can scarcely repress a smile at the effect of their work in cheapening the modern. Everywhere it is the same way. Mr. F. Rolfe, writing from Venice, where he has been studying thirteenth-century glass, and talking of its wonderful beauty as compared to anything modern, says: "There are also fragments of two windows, pieced together and the missing parts filled in with the best which modern Murano can do. These show the celebrated Beroviero Ruby Glass (secret lost) of marvellous depth and brilliancy in comparison with which the modern work is merely watery. (The ancient is just like a decanter of port wine.)"

This is the story, no matter where one goes, throughout Europe. At York they would not surrender the town to the Parliamentary army until a guarantee had been given them that their cathedral would not be devastated as had been the case elsewhere. Besides General Ireton was a friend of the Yorkists and he was ready to agree to the stipulation. The agreement was not fully carried out, fanatic soldiers could not be entirely restrained, but some of the old glass remains. There is probably nothing more beautiful in all the realm of artistic glass-making than the famous Five Sisters window at York. In France the Revolution repeated what the Puritans accomplished of ruin in England. Notre Dame has no trace of its old glass. In some of the cathedrals, however, there has fortunately been preserved for us enough of it to know how wonderfully the makers of it must have been trained, and to let us realize how much of experiment, of investigation, of study that we would now call applied chemistry must have gone to the making of this wonderful old glass. These technical schools were not merely passing on arts and crafts traditions, but each generation was adding to the secrets of the gilds by original research of its own. We are prone to think that such work of original investigation was reserved for our time, but that is only because of the foolish self-complacency which blinds us to what other generations did.

The stained glass of the cathedrals of Bourges and of Chartres shows the marvellous success of these old workers in glass and their power to make enduring products. It is a mystery to see how their blues have lasted while the sun has shone through them all these years and caused no deterioration or only such as softens and adds to beauty but not really causes to fade. Blue had to be used in great profusion on the windows because the symbolism of color was well determined and blue stood for the virtue of purity and was the Blessed Virgin's color. It had to come in, therefore, on nearly all occasions. Usually by irradiation blue causes surrounding colors to lose something of their tint, and by contrast often spoils what would ordinarily be expected to prove beautiful color effects. These old workmen had found the secret of using it in such a way as not thus to spoil surrounding colors, not to permit it to be too assertive, yet we have wonderful enduring blues that have come down to us practically unchanged through all these centuries. Where the workmen of the old time set themselves producing pure color effects, their windows look like jewels and coruscate in the light of the setting sun–for their most charming effects were particularly obtained in the west windows–with a glorious beauty that has appealed to every generation since.

It was not alone in the building trades, however, that these fine things were accomplished. Bookmaking reached a degree of perfection that has never been excelled. Humphreys, the authority on illuminated books, declares that the manuscript volumes of the thirteenth century, illuminated as they are by the patient labor and the finely developed taste of this time, are the most beautiful ever made. We have one example of the thirteenth-century illuminated book in the Lenox Library in New York for which, I believe, the museum authorities were quite willing to pay some $18,000, and it is worth much more than that now, for it is a wondrously beautiful example of the illuminations of the time. Like the glassmakers, these bookmakers had secrets that have been lost, and that we with all our knowledge of science and of art in the modern time, or at least our fondly complacent notion of our knowledge of art and science, are unable to find the formulas for. They used blues in their illuminating work that have never faded, though blues are so prone to fade on parchment. They managed their blues in wonderful way and they still are as fresh and as undisturbing of the harmony of other colors as in the long ago. They could burnish gold and it stays as bright as when it was first applied to the leaves, even after seven centuries. We have lost the art of burnishing gold in such applied work and ours becomes dull after a time.

Nor was this teaching of technics confined only to the men. From this period we have the most beautiful needlework in the world. The famous Cope of Ascoli has recently attracted wide attention. Mr. Pierpont Morgan purchased it and was willing to pay $60,000 for it, though the jewels that had been on it originally had been removed. His experts assured him that it was the most beautiful piece of needlework in the world. Afterwards it was found to have been stolen, and so he restored it to the Italian Government, who did not return it to the little convent of Ascoli in North Central Italy, from which it had been stolen and where it was made at the end of the thirteenth century (1284), Elsewhere in Europe they were doing just as charming work with the needle. In fact England, not Italy, was the acknowledged home of it. The English Cope of Cyon is another notable example of needlework from this time. Thirteenth-century work with the needle is famous in the history of the art. It was the product of just the same forces that gave us the wonderful stained glass. They, too, used colors and applied great art principles to this unpromising mode of expression and accomplished great results. I have had the privilege of seeing the copy of the Cope of Ascoli that was made while in Mr. Morgan's possession, and, like the stained glass of York or Bourges or Chartres, it is one of the things not likely ever to be forgotten, so beautiful a realization is it of what is best in taste and art.

The supremely interesting feature of this popular education was its effect upon the lives, and minds, and happiness of the workmen. Men got up to their work in the morning not as to a routine occupation in which they did the same things over and over again, until they were so tired that they could scarcely do them any more, and then came home to rest from fatigue in weariness of mind and of body. But they awoke from sound sleep with the memory that ideas had been coming to them the day before, and especially towards evening that, now with fresh bodies, they might be able to execute better, and that it would surely be a pleasure to work out. They came to their work with an artist's spirit, hopeful that they would be able to express in the material what they saw so clearly with their mind's eye. It was tiresome working but the hours were not long, and always there was the thought of accomplishment worthy of the cathedral or the abbey or the town hall, worthy to be placed beside the masterpieces in the best sense of that dear old word, that their fellow-workmen of the other gilds were accomplishing around them. They went to bed healthily tired but not weary, sometimes to dream of their work, not as a nightmare, but as something that represented possibilities of accomplishment. When technical schools can lift men up to this plane then, indeed, there is a chance for happiness even for the workmen.

Compare with this for a moment the lot of the modern workman. He goes out in the morning to work that seldom is interesting, that he practically never cares to do only that he must get money enough to support himself and his family, and that requires the frequent repetition of routine movements until he is weary, body and soul. He must work or starve. He has very little interest in it as a rule, often none at all, and sometimes he is thoroughly disgusted with it. He must earn money enough to get bread to live to-day so that he shall be able to go and work again tomorrow. And so the humdrum round from day to day with nothing to relieve the prospect until the darkness comes when no man can work. As to dreams of accomplishment or pleasure in his work, as the artist has, there is practically none. He needs must go on, and that is all about it. Is it any wonder that this breeds discontent?

Happy is the man who has found his work. There is only one happiness in this little life of ours and that consists in having work to do that one cares to do, and the chance to do it in such order and with such rewards as make life reasonably pleasant, satisfying from the material side. There are no pleasures in life equal to the joy of the worker in his work when he cares for it. Pleasures are at most but passing incidents. The work is what counts. These workmen of the Middle Ages taught in the technical schools of that olden time had chances for happiness, chances that were well taken, such as perhaps no other generation of workmen could have.

Of course it may be said that, after all, there were only opportunities for a few to work at the great architectural monuments of the thirteenth and fourteenth centuries. In a sense this is true, but it must not be forgotten that without modern mechanical means and with the slow, patient laborious effort required to raise these huge edifices, much time and many men were required. Besides the cathedrals and the abbeys there were many private castles and town halls, and then in many places the homes of the gilds themselves, some of which, as, for instance, the famous hall of the clothmakers at Ypres, are among the most beautiful monuments of the architecture of that period. In everything, however, the workmen had a chance to do beautiful work. In the textile industries this is the time when some of the most beautiful cloth ever made was invented and brought to perfection. Linen was woven with wonderful skill, satin was invented and brought to perfection, silk brocades of marvellous designs of many kinds were made, threads of gold and silver were introduced into the textures, wonderfully fine effects were studied out and applied in the industries, and just as in the decorative arts so in the arts of cloth-weaving and of many other forms of human endeavor, there was an artistic craftsmanship such as we have lost sight of to a great extent in our age of machinery.

The Irish poet, Yeats, in bidding a group of American friends good-bye some five years ago, said that we had many opportunities for culture in life here in America, but we must be careful to take them fully and not deceive ourselves with counterfeits, or we would surely miss something of the precious privilege and development that might be ours. Among other things he said, that we must not forget "that until the very utensils in the kitchen are useful as well as beautiful no nation can think of itself as really cultured." If men and women can bear without constraint to handle things that are merely useful without beauty in them, there is something seriously lacking in their culture. Whatever is merely useful is hideous. Nature never made anything that was merely useful in all the world's history. The things of nature around us are all wonderful utilities and yet charmingly beautiful. The pretty flowers are seed envelopes meant to attract birds and insects, so that the seeds may be scattered. The beautiful fruits are other seed envelopes meant to attract man and the animals, so that the seeds may be carried far and wide. The leaves of trees are eminently useful as lungs and stomach and yet are beautiful and have a wondrous variety and a charm all their own.

This precious lesson of nature they seem to have understood well in the Middle Ages and applied it with marvellous perfection. It has often been called to attention that portions of Gothic edifices in dark corners, out of the sight of the ordinary visitor, are just as beautifully decorated in their own way as those which are especially on exhibition. The gravestones in their churches, though meant to be trodden under foot and often covered by the dirt from the shoes of passersby, yet had bronze ornaments that are so beautiful that in the modern time artists take rubbings of them so as to carry the designs away with them. While every portion of the church is beautiful, the same thing was true in the castles and to a great extent in their own homes. The furniture of that time, even in the houses of smaller tradesmen, was beautiful in its simplicity, its solidity, its charm of line, and then, above all, its absolute rejection of all pretence of seeming to be anything other than it was. Their drinking cups were beautiful, their domestic utensils of various kinds had charming lines and, though they did not have as many as we have in the modern time, what they had were so beautiful that now we find them on exhibition in museums, and we are beginning to imitate them in order that the wealthy may have as bric-à-brac ornaments in their houses, the utensils which were in ordinary use in the homes of the middle classes of the thirteenth century.