M Pf ITU REESE LIBRARY OF THE UNIVERSITY OF CALIFORNIA. j ,190 . Accession No. 9.15.57 Class No. Dime Question Book on Temperance. Paper, 16mo. pp.40 10 Dime Question Book on Bookkeeping. Paper, 16mo, pp. 31 10 Dime Question Book on Letter- Writing. Paper, 16mo, pp. 30 10 The Song Budget. Paper, small 4to, pp. 76. 185M thousand 15 The Song Century. Paper, small 4to, pp. 87 15 The Song Patriot. Paper, small 4to pp. 80 15 The Song Budget Series Combined. Cloth, 4to, pp. 250 50 Barnard (Henry) American Journal of Education, Vols. I-V, VIII, IX, XVI, XVII, XXI, XXIII, XXIX, XXX. Each, Half-turkey,8vo, pp. about 800 550 Letters, Essays, Thoughts on Studies and Conduct. Cloth, 8vo, pp. 552.. 3 50 Kindergarten and Child Culture Papers, etc. Cloth, 8vo, pp. 784 3 50 American Pedagogy. Cloth, 8vo. pp. 510 3 50 National Education. Part I., German States. Cloth, 8vo, pp. 916; Part II., The Rest of Europe, pp. 1263. Each 5 50 Technical Education. 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(c) Like (b) but with one-half more (72) pages 35 Pencil Holder, numbered for 60 pupils 200 l\m-U ti/t:ti fountains of light in variegated and swiftly changing colors are dashing into the air and describing an infinite variety of forms ; flash lights are dipping here and there on domes and towers and pinnacles, on portals, fountains, and statuary, picking rare bits of beauty and rendering them more glorious by contrast with the surrounding darkness. The last agent forced into the service of man has already multiplied the beauty of the earth four-fold. One realizes that he has never seen the Macmonnies fountain, or the Ad- ministration Building, or the canals, or the Peristyle at all until he has seen them under the flashes of the electric light. What ravishing sculpture! What marvelous architecture! What wonderful water effects with their curving bridges and flitting gondolas are brought out by the well-directed flashes from the roofs of the lofty buildings ! ' ' And holy thoughts come o'er me When I behold afar Decending from the heavenly height The shield of that bright star." MUST GREEK Go ? 4:7 Yes it was beautiful ! It was divinely beautiful ! There were worlds of beauty apart from the Court of Honor and the Grand Canal. In fact this wonder- ful Latin cross was designed to be only a noble vesti- bule to the real temple of the Fair. That it made itself the centre of interest and took supreme posses- sion of the beholder was perhaps an accidental result rather than a thing deliberately aimed at in the original plan. The plan contemplated a vast, varied, and interesting exhibit, and just purposed to have it appropriately housed. The spirit that soared so high on the mere problem of the entrance was not inactive as to what was supposed to be the real thing itself. The exhibits themselves became simply materials of adjustment in the hands of exacting art : just as the straws, and wool, and hair, and slime are controlled into that beautiful product, a bird's nest. Ores, and grasses, and grains ; fabrics, and fishes, and facts ; wares and machines, and utensils ; all the myraid products of an onward-sweeping civilization were forced into order by an over-mastering sense of form and color. They became the mere elements of in- numerable beautiful pictures ; while art supplemented its own effects with special decoration, and over it all turned on the sweet airs of music. It was Fairyland within as well as without. The sublime vestibule did lead into a bewildering temple. 48 MUST GREEK Go? I have said that the Manufacturers' Building could contain within its symmetrical and harmonious em- brace thirteen Saint Peter's ; and the comparison of buildings within a building was not a forced one. Though the thirteen Saint Peter's were not there, yet there were several times thirteen gorgeous and mag- nificent palaces in that great interior, any one of which would be a striking object in any street of any city, and some of which were truly colossal. It wa& street after street worthy of the Arabian Nights, blazing with color, and shall we say ? even riotous with form. But it was the riot of infallible and sure- footed harmony, that could dance the giddiest mazes without missing the slightest figure or point. A city within a building ! And a city of such gorgeous color and form ! Miracle on miracle piled ! I well remember when it was a great experience to go to the top of Bunker Hill Monument and look down upon the distant roofs of Oharlestown, and upon the pygmy folks celebrating the heroism of a hundred years ago. One could rise in the elevator of the Manufacturers* Building to a greater height than the top of Bunker Hill Monument, and still be under a roof! Far, far below were the summits of lofty pinnacles ; and lower still were the swarming little black objects known to be human beings inspecting a city more MUST GREEK Go? 49 marvelous than fancy ever painted, and converting by ^^ ST GrKEEK Go ? You see it in the easy and magnificent triumph of thought and culture ; you see it in the admiring gaze of the millions from all walks of practical life. It is the unity and progressive advancement of life on the earth ; it is the Greek enlarged by Roman and Teu- tonic history ; it is the point of attainment to which indestructible principles have reached. Many have stood in the Court of Honor who up to that moment had carried glowing remembrances of the Centennial Exposition at Philadelphia. But what a reaction comes over one by contrast. The Centennial exhibits become too paltry to be thought of ; they are as antiquated and as much out of date as if they belonged to a period beyond the flood. And yet some of us do not feel that we are much older than when we went to Philadelphia. What a rush we are in when a new civilization takes posses- sion of the world in the short space of seventeen years ! But at Philadelphia the exhibits were every- thing, the buildings were nothing but great unsightly barns. The thought ascended no higher than utility, and a poor pinched utility at that. We cannot even concede to the Centennial the attribute of size. As we now recall it there was nothing to do but to finger carpets, and porcelain, and bric-a-brac. And yet the Centennial is not to be despised, even in remembrance. MUST GREEK Go? 53 It was grand considering all the circumstances. It was the work of a nation exhausted by a frightful war. We were not presentable ; we had been drained, and harried, and torn, and worn. The flower of our youth was consumed on an enormous battle line ; and the old folks were at their wits' end finding supplies and hurrying them to the front. It was a desperate fight for life ; it was not a time to make artists ; it was a time to make gladiators and patriots. What could those poor panting gladiators and patriots do so soon after emerging from the smoke of battle? They did what they could ; and the Centennial of that day did them as much credit as the White City has done to this generation of the myrtle. ' ' O Beautiful ! my country ! ours once more ! Smoothing thy gold of war-dishevelled hair O'er such sweet brows as never other wore, And letting thy set lips, Freed from wrath'sjpale eclipse, The rosy edges of their smile lay bare." The set lips became fully relaxed in the long suc- ceeding era of peace ; and the Court of Honor was the ineffable smile on the beautiful lips of our fair country, from which every shade of " wrath's eclipse " had entirely departed. And O the recuperation of seventeen brief years ! 54: MUST GKEEK Go? A hundred millions to throw away and not feel it ! And a taste and art so exquisite that it seems like perfection ! But what is ahead ? The future will have its problems ; the future will have its triumphs. " There is a divinity that shapes our ends, Rough-hew them as we will." Meanwhile let us look again upon our " cloud-capped towers and gorgeous palaces " and give ourselves up to the poet's prophetic appeal. " Build thee more stately mansions, O my soul, As the swift seasons roll ! Leave thy low-vaulted past ! Let each new temple, nobler than the last, Shut thee from heaven with a dome most vast, Till thou at length art free, Leaving thine out-grown shell by life's unresting sea." The Colosseum of the Peace Jubilee in Boston in 1872 with its seats for 100,000 persons was regarded at the time as a monster structure ; but it could have been packed away in -a corner of the great Manufac- turers' Building. And the Jubilee Building was so plain ; whereas the Manufacturers' Building was forty acres of song. The Eoc's Egg was no longer a myth ; there it lay along the shore of Lake Michigan, but- tressed with as beautiful a framework as the eye of man ever rested upon. With all its greatness the monster Eoc's Egg did MUST GREEK Go ? 55 not disturb the balance of things ; it overshadowed nothing ; it was simply in keeping with its equally sturdy companions. There was no let down when you shifted the radius of your view to the Peristyle and caught the vistas of the blue lake between its graceful columns or cut by its noble arch. Elsewhere there is the beauty of repose ; but here it is the beauty of action. It is imperialism symbolized. The arch with its crowning quadriga seem a thing instinct with life; teeming with force and vitality it seemed dis- posed to move forward with an irresistible sweep. Truly the art of Home found suitable expression for the genius of the nation. " Thence to the gates cast round thine eye and see What conflux issuing forth or entering in." The triumphal arch is ready for the Imperator ; we are ready to hear his trumpets sound and to see him sweep through the arch with his retinue of the conquering and the conquered on the way to the Capitol. Is it to be Pompey, Caesar, or Constantine ? ' ' The city which thou seest no other deem Than great and glorious Rome, Queen of the earth, So far renowned, and with the spoils enriched Of nations ; there the Capitol thou seest Above the rest lifting his mighty head On the Tarpeian rock, her citadel Impregnable ; and there Mount Palatine 56 MUST GREEK Go ? The imperial palace, compass huge, and high The structure, skill of noblest architects, With gilded battlements, conspicuous far, Turrets and terraces, and glittering spires. Many a fair edifice beside, more like Houses of gods, (so well I have disposed My aery microscope) thou mayst behold Outside and inside both, pillars and roofs, Carved work, the hand of famed artificers, In cedar, marble, ivory, or gold." Who can doubt that this was the thought that gave birth to this glorious airy structure ? Six hundred feet of columned and arched magnificence, with a great column for each State and Territory of the American Union. Imperial America could well be symbolized in terms of imperial Rome ; even though the victories of the former are only those of peace ; while the latter was the very incarnation of war. Such was the thought of the Peristyle, boldly con- ceived, gloriously executed. A volume might be written on the exquisite detail, conscientiously and triumphantly interwoven into this great work of art. It is a great combination to be at once spirited and exact ; " Homer was the greater genius, Yirgil the better artist." The Peristyle was at once a glow- ing inspiration and a faultless piece of workmanship. And it was exceedingly rich in detail without con- veying the slightest impression of being ornate or MUST GREEK Go? 57 overloaded. Like a beautiful picture it existed for no other use than to express a beautiful conception. It would seem that art is most untrammeled where the idea of utility is entirely wanting, and where no question of adaptation is involved. The art that adorns seems not to reach quite the exquisite results of the art that simply externalizes a conception of beauty for the sake of the beauty alone. Thus you think before those admirable colossal groups of symbolical statuary flanking the Great Basin and the Grand Canal ; thus you think while gazing upon that cen- tral piece of ecstasy, the Macmonnie's Fountain. I found our glorious country fully symbolized in the glorious Peristyle. There I found wonderfully interwrought the ideas of Union, Strength, Beauty, Movement, Power all the qualities for which Col- umbia stands pre-eminent in the long genealogy of nations. This true Columbian monument looked proudly up the Court of Honor, as if to say: "These are great but they are mine." In the great Art Palace everything seemed to be in the superlative degree ; and it was no wonder that the thronging people stopped every where to gaze and admire. Mediocrity withered at the entrance to that magnificent Grecian temple ; only genius could pene- trate to its rotundas or obtain space upon its seeming 58 MUST GREEK Go? miles of walls. The sculpture was not " frozen music " ; there was nothing frozen about it ; it was bounding life and action. There was life in the stone. The men and women were breathing, think- ing, suffering, enjoying, triumphing. The animals were springing, frisking, crouching, tearing, sleeping, according to their natural bent. And such magnifi- cent human beings; such superb animals ! The poor camera turned upon actual life gives but faded types, but feeble action; the artist evolves the ideal, the perfect. It is always easier to imagine a perfect thing than to find one. How tame and commonplace the best portraits in the galleries compared with the ideal heads, the lives that never lived except in the painter's imagination and afterwards on his canvas. No, these scenes in the rotundas are not " sermons in stones " ; you find those in great abundance over there in the Mines Building; and profoundly interesting, instruc- tive, and edifying sermons they are. These are tragedies, comedies, idyls, epics in stone. But one cannot gaze upon them ; one cannot gaze upon the noble building that contains them, without feeling our great debt to a by-gone age. These are after all but fine discipleship ; the masterhand which has inspired it all wrought in Athens in the fifth and fourth centuries before Christ. Our artists, whether MUST GREEK Go? 59 consciously or unconsciously, are just trying to be as Greek as they can. In some of our mush-room cities art has indulged itself in some wild experiments ; under the supreme ordeal of the White City it did not dare to be otherwise than classic. Phidias and Praxiteles were the masters that directed our glorious modern young men. Art is not a development ; and the World's Fair demonstrates it ; it is just an attempt to get as near to Greece as you can. Those Greeks have ever been "the delight and the despair of the moderns". Homer, Phidias, Praxiteles, and Apelles inspire all the beauty of the modern world. In the White City they were regnant. Hence the great success of the White City. I had long wanted to see the " Teucer " of Thorny- croft ; and there it was in the rotunda of the Art Palace with the label of a gold medal attached to it. That lithe young archer of the Greeks had just dis- charged his arrow and was watching with perfect con- fidence for its assured effect. But I thought I saw in that fine production a suggestion of the " David" of Michael Angelo, as that magnificent youth looks forth upon the Philistine whom he is about to slay. And the " David " seems to carry a suggestion of the Apollo Belvedere. Thus the best in modern art is 60 MUST GREEK Go ? ever suggesting its genesis in the marbles of Paros land Pentelicus. The Greeks fixed the line ; Angelo Iprowded it closely ; Shakespeare as the solitary excep- tion of the ages shot above it, and made a higher Olympus of his own. But for the rest they need Homer, Pindar, Theocritus, Phidias, Praxiteles, A pel- les, the Elgin marbles, the Castellani marbles, the "Laocoon", the Apollo Belvedere, the Venus de Milo, and the Farnese Bull. The dance is fine when Helicon supplies the lyre. " Or turning to the Vatican, go see Laocoon's torture dignifying pain A father's love and mortal's agony With an immortal's patience blending. Vain the struggle ; vain against the coiling strain And gripe, and deepening of the dragon's grasp, The old man's clench ; the long envenomed chain Rivets the living links, the enormous asp Enforces pang on pang, and stifles gasp on gasp. Or view the Lord of the unerring bow, The God of life, and poesy, and light The Sun in human limbs arrayed, and brow All radiant from his triumph in the fight. The shaft hath just been shot the arrow bright With an immortal's vengeance ; in his eye And nostril beautiful disdain, and might And majesty flash their full lightnings by, Developing in that one glance the Deity. But in his delicate form a dream of love MUST GREEK Go? 61 * * * * are expressed All that ideal beauty ever blessed The mind with in its most unearthly mood, When each conception was a heavenly guest A ray of immortality and stood Starlike, around, until they gathered to a God ! And if it be Prometheus stole from Heaven The fire which we endure, it was repaid By him. to whom the energy was given Which this poetic marble hath arrayed With an eternal glory which, if made By human hands, is not a human thought ; And Time himself hath hallowed it, nor laid One ringlet in the dust nor hath it caught A tinge of years, but breathes the flame with which 'twas wrought. Must Greek go ? Well, not right away not at least until the memories of the great World's Fair have grown dim in the minds of the people. The cause of the White City may be found in these words of Professor Tracy Peck of Yale University : " No one can make even a slight acquaintance with Rome's characteristic literature without coming into such contact with elevating thoughts and clear and artistic expression as to have a desire to reproduce the best things in his own life and environment. An eminent graduate of this college once said that to have learned the proper functions of the word ' there- 62 MUST GREEK Go? fore ', was sufficient compensation for years spent in learning Latin, and many a master of English style has found the best explanation of his art in his severe and manifold drill in the classics." A friend of mine went to Chicago in a somewhat perfunctory way ; because it seemed the regular thing to do. But. being an intelligent man, he was quickly impressed with the extreme beauty and deep signifi- cance of what he saw. Being an intelligent man he saw the importance of all this to his children ; so he hastened back nine hundred miles to get his two little boys, aged respectively eight and ten years. Expense was not to be thought of ; so he gave the little fel- lows two weeks among the great sights. He wanted to get the impress of those forms on their minds ; and he knew that there was no other way. A descrip- tion of the White City might hold them perhaps three minutes ; a discussion of it would hold them less than three seconds ; but to be in the White City was education in all that the White City stood for. I doubt whether my friend had fully formulated the matter ; but he was just giving his children a classical education of the most intensely classical kind ; and he was giving it in the genuine classical way. We do not ask our youth to listen to a description of antiquity and endure a discussion of it ; we ask them MUST GREEK Go? 63 to read the classical authors and thus be in the White City itself. As my friend expected his boys to absorb much that they would have loathed if presented in any other way, so we very properly expect our youth by living in antiquity to absorb all that that great antiquity is capable of teaching them. It is a great thing for any one to get behind history, and come down through it. We are born at one end ; if our education puts us at the other we are pretty sure to force the circuit. Greek is not likely to go if such men as Dr. W. T. Harris, United States Commissioner of Education and one of the profoundest educational philosophers of the time, can speak of it as follows : " Latin and Greek in the light of the doctrine of evolution, which is beginning to prevail in natural science and will by and by prevail in education Latin and Greek are not dead languages. Nor were they ever essentially more useful in a liberal education than now. Although they once formed the language of the learned, still their chief value consisted in the fact that they were the languages of the two peoples that originated the civilization which we have borrowed. " The Greeks brought to perfection art and poetry, and finally philosophy and science. Only rudiment- 64: MUST GREEK Go? ary beginnings of these things come to us from other peoples. The Romans borrowed art, literature, science, and philosophy from the Greeks, but they invented jurisprudence they transmitted to all modern people that have reached the rank of civil- ized nations the forms of acquiring, holding, and transmitting private property and the municipal and corporate forms by which individuals may live together in a community without internecine conflict or dwarfing of individual development. The roots of our civilization grew in Home and Athens : Rome giving the forms of science and literature. But if this be so why cannot one get what is valuable by studying their history and archaeology and by reading good translations of their literature ? "Because to understand comparative history and archaeology requires maturity. These are studies of the college or university. The youth finds himself in a derivative civilization, and is best helped by studying the language in which the ideas that uncon- sciously form his life were first developed and expressed. To learn a language is to learn to realize in our minds just the volitions, feelings, and ideas that its originators conceived and expressed in the words that we read. Each nation has its view of the world cut out, defined, and expressed by its vocabu- MUST GREEK Go? 65 lary. Latin and Greek are the spiritual clothes of the Romans and Greeks. To put on these gives us a power to understand our inherited forms in art, liter- ature, and philosophy, in legal usages and civil and corporate combinations. " This is especially so in the Romance nations, whose languages are modifications of Latin ; especially so in the English, which derives all except its colloquial vocabulary from the Latin and Greek. But it is true also of Germans and Slavs and Scandinavians as well. They find the embryology of their civilization in Greece and Rome just as we do, and therefore train their choice youth for many years on Latin and Greek in order that they may all make a new conscious Greek and Roman foundation to their lives, which will help them to understand the separate elements of their composite civilization and see better its aims and means of achievement. " This early study of Latin and Greek gives, at the outset, what one gets in mature life from studying the philosophy of history. It gives it in the form of science or philosophy. " The youth equipped with Latin and Greek has powers of learning and understanding whatever relates to the social, political and legal forms and usages of his people, that give him a distinct advantage over 66 MUST GREEK Go? the youth educated only in * moderns '. Any other ancient language, say Chinese or Sanskrit, does not contain the roots of his civilization. Any modern European language is full of ideas and forms of feel- ing and will, that find explanation only in Greek or Latin. " On learning to see this question of language-study in the light of the evolution of civilization, I came to understand why the Chinese lay so much stress on the study of the writings of Confucius and Mencius, and why the high-caste youths of India study San- skrit. I have long since abandoned my objections to the traditional education of Latin and Greek in col- legies and academies." Tin: SCHOOL BULLETIN PUBLICATIONS. Locke(Jolui). Sketch of, by K. II. Quick. Paper, IGino, pp. 27 15 Lowrii w tooittatik (ires. Switzerland, llxl? 1 /^ $3.50; 23x34, $10.00. Palestine.. 1000 Diw.cttd Maps United States sawn into States 75 The same, New V ork State sawn into Counties 75 *0nondaga County. Cloth, 4x4*4 feet 10 00 Marble (A. P.) lowers of School Officers Paper. 16mo, pp. 27 15 Mareuholz-lluelow (Baroness) School Work-shops. 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