rUESIDENTIAI. ADDRESS SECTION D. 2() 



was a believer in divinely appointed inequalities, but ho said, '" I 

 believe that all youths of whatever rank ought to learn one 

 manual trade thoroug^hly." One reason why education has failed 

 to produce the result^ wliicli enthusiasts expected from it when 

 it was made a national concern, is that it has been looked upon 

 as something altogether apart from life. Education should be a 

 preparation for both work and play. Yes, play. Was it no' 

 Aristotle who said that the real test of a man's education is the 

 manner in which he spends his leisure time? 



The educator of to-morrow will not exclude from the school 

 the higher spiritual lite of culture, but he will constantly keep 

 before Kim the principle of training for practical life, in a prac- 

 tical world of work. One half of the education of to-morrow 

 will consist of doiiic/. " How do you do?" will be the appropriate 

 salutation to the young scholar. And if to doing is added think- 

 ing, the efficient youth will be the result. 



It has long been acknowledged that bodily activity assist^ 

 brain development rather than hinders it. The dormant mind 

 and the dormant bod\ usuallv go together. The relation of 

 mind and muscles is a fact of extreme importance in pedagogv. 

 Motor training for the mental development of subnormal children 

 has long been known t ) be useful ; but the education of to-morrow 

 will mske more use of the muscles for the mental development of 

 normal and supernormal children. Mosso believes that long- 

 continued motor activity among a people promotes intellectual 

 development. Tn supoort of this view he says that — 



'■ during the lirst epocli of tlie Renaissance, tlic greatest artists of 

 Florence were all apprentices in the workshops of the eoldsmitbs Luca 

 della Robbia, Lorenzo Ghiberti, Filippo Brnnelleschi, Francia. Domencio 

 Chirlandaio. Sandro Botticelli. Andrea del Sarto — to mention a few 

 examples — performed, durine their apprenticeship, the simplest labours 

 in the workshop of a poldsmith. Rut the exercise with which they g:ained 

 their manual dexteritx- contributed much to the development of the great 

 masters of genius. 



■■ A fact wliich cannot be doubted is the many-sidedness of peniu? 

 v/hich some Italians of the Renaissance possessed, and which has never 

 again appeared with. like copiousness. Giotto was painter, sculptor, and 

 architect Leonardo dr. Vinci was a celebrated musician, a great painter, 

 an engineer, and architect, a man of letters and of science. Andrea del 

 Verrocchio was a goldsmith, sculptor, engraver, architect, painter, and 

 musician. These facts are to be read in many histories of art. An incom- 

 parable example, however, is Michelangelo. For twelve years he studied 

 anatomy on the cadaver and afterwards painted the Sistine Chapel and 

 executed the tomljs of the ^ledici and the dome of St. Peter's. .... 

 I am convinced that muscular movements have formed the omnipotence of 

 genius, just as, -rice z'crsa. intellectual exercises affect advantageously the 



development of the nmsclcs." 



The education, then, of to-morrow will be dynamic rather 

 than static. The young learner will not be kept in a seat during 

 his growing years, with folded arms, poring over a book. There 

 will be a clearer recognition of the fact that a child's thought 

 is never dissociated from his muscles, and that an idea is not 

 complete until it is realized in action. More practical Arithmetic. 



