§ 84. We learn from Psychology that mind does not consist of distinct faculties, but that what we choose to call so are only different activities of the same power. Each one is just as essential as the other, on which account Education must grant to each faculty its claim to the same fostering care. If we would construe correctly the axiom a potiori fit denominatio to mean that man is distinguished from animals by thought, and that mediated will is not the same as thought, we must not forget that feeling and representing are not less necessary to a truly complete human being. The special direction which the activity of apprehending intelligence takes are (1) Perception, (2) Conception, (3) Thinking. Dialectically, they pass over into each other; not that Perception rises into Conception, and Conception into Thinking, but that Thinking goes back into Conception, and this again into Perception. In the development of the young, the Perceptive faculty is most active in the infant, the Conceptive in the child, and the Thinking in the youth; and thus we may distinguish an intuitive, an imaginative, and a logical epoch.
—Great errors arise from the misapprehension of these different phases and of their dialectic, since the different forms which are suitable to the different grades of youth are mingled. The infant certainly thinks while he perceives, but this thinking is to him unconscious. Or, if he has acquired perceptions, he makes them into conceptions, and demonstrates his freedom in playing with them. This play must not be taken as mere amusement; it also signifies that he takes care to preserve his self-determination, and his power of idealizing, in opposition to the pleasant filling of his consciousness with material. Herein the delight of the child for fairy tales finds its reason. The fairy tale constantly destroys the limits of common actuality. The abstract understanding cannot endure this arbitrariness and want of fixed conditions, and thus would prefer that children should read, instead, home-made stories of the "Charitable Ann," of the "Heedless Frederick," of the "Inquisitive Wilhelmine," &c. Above all, it praises "Robinson Crusoe," which contains much heterogeneous matter, but nothing improbable. When the youth and maiden of necessity pass over into the earnestness of real life, the drying up of the imagination and the domination of the understanding presses in.—
I. The Intuitive Epoch.
§ 85. Perception, as the beginning of intellectual culture, is the free grasping of a content immediately present to the spirit. Education can do nothing directly toward the performance of this act; it can only assist in making it easy:—(1) it can isolate the subject of consideration; (2) it can give facility in the transition to another; (3) it can promote the many-sidedness of the interest, by which means the return to a perception already obtained has always a fresh charm.
§ 86. The immediate perception of many things is impossible, and yet the necessity for it is obvious. We must then have recourse to a mediated perception, and supply the lack of actual seeing by representations. But here the difficulty presents itself, that there are many objects which we are not able to represent of the same size as they really are, and we must have a reduced scale; and there follows a difficulty in making the representation, as neither too large nor too small. An explanation is then also necessary as a judicious supplement to the picture.
§ 87. Pictures are extremely valuable aids to instruction when they are correct and characteristic. Correctness must be demanded in these substitutes for natural objects, historical persons and scenes. Without this correctness, the picture, if not an impediment, is, to say the least, useless.
—It is only since the last half of the seventeenth century, i.e. since the disappearance of real painting, that the picture-book has appeared as an educational means; first of all, coming from miniature painting. Up to that time, public life had plenty of pictures of arms, furniture, houses, and churches; and men, from their fondness for constantly moving about, were more weary of immediate perception. It was only afterwards when, in the excitement of the thirty-years' war, the arts of Sculpture and Painting and Christian and Pagan Mythology became extinct, that there arose a greater necessity for pictured representations. The Orbis Rerum Sensualium Pictus, which was also to be janua linguarum reserata, of Amos Comenius, appeared first in 1658, and was reprinted in 1805. Many valuable illustrated books followed. Since that time innumerable illustrated Bibles and histories have appeared, but many of them look only to the pecuniary profit of the author or the publisher. It is revolting to see the daubs that are given to children. They are highly colored, but as to correctness, to say nothing of character, they are good for nothing. With a little conscientiousness and scientific knowledge very different results could be obtained with the same outlay of money and of strength. The uniformity which exists in the stock of books which German book-selling has set in circulation is really disgraceful. Everywhere we find the same types, even in ethnographical pictures. In natural history, the illustrations were often drawn from the imagination or copied from miserable models. This has changed very much for the better. The same is true of architectural drawings and landscapes, for which we have now better copies.—
§ 88. Children have naturally a desire to collect things, and this may be so guided that they shall collect and arrange plants, butterflies, beetles, shells, skeletons, &c., and thus gain exactness and reality in their perception. Especially should they practise drawing, which leads them to form exact images of objects. But drawing, as children practise it, does not have the educational significance of cultivating in them an appreciation of art, but rather that of educating the eye, as this must be exercised in estimating distances, sizes, and colors. It is, moreover, a great gain in many ways, if, through a suitable course of lessons in drawing, the child is advanced to a knowledge of the elementary forms of nature.
—That pictures should affect children as works of art is not to be desired. They confine themselves at first to distinguishing the outlines and colors, and do not yet appreciate the execution. If the children have access to real works of art, we may safely trust in their power, and quietly await their moral or æsthetic effect.—