150 ON SCIENCE AND ART 



portions of that immense capitalised experience of the 

 human race which we call knowledge of various kinds. 

 I am using the term knowledge in its widest possible 

 sense; and the question is, what subjects to select by 

 training and discipline, in which the object I have just 

 denned may be best attained. 



I must call your attention further to this fact, that 

 all the subjects of our thoughts all feelings and propo- 

 sitions (leaving aside our sensations as the mere ma- 

 terials and occasions of thinking and feeling), all our 

 mental furniture may be classified under one of two 

 heads as either within the province of the intellect, 

 something that can be put into propositions and affirmed 

 or denied; or as within the province of feeling, or that 

 which, before the name was defiled, was called the 

 aesthetic side of our nature, and which can neither be 

 proved nor disproved, but only felt and known. 



According to the classification which I have put before 

 you, then, the subjects of all knowledge are divisible into 

 the two groups, matters of science and matters of art; 

 for all things with which the reasoning faculty alone is 

 occupied, come under the province of science; and in 

 the broadest sense, and not in the narrow and technical 

 sense in which we are now accustomed to use the word 

 art, all things feelable, all things which stir our emotions, 

 come under the term of art, in the sense of the subject- 

 matter of the aesthetic faculty. So that we are shut up 

 to this that the business of education is, in the first 

 place, to provide the young with the means and the 

 habit of observation; and, secondly, to supply the sub- 

 ject-matter of knowledge either in the shape of science 

 or of art, or of both combined. 



Now, it is a very remarkable fact but it is true of 

 most things in this world that there is hardly any- 

 thing one-sided, or of one nature; and it is not immedi- 



