§ 99. The art of teaching in Pestalozzi’s system consists in analyzing the knowledge that the children should acquire about their surroundings, arranging it in a regular sequence, and bringing it to the children’s consciousness gradually and in the way in which their minds will act upon it. In this way they learn slowly, but all they learn is their own. They are not like the crow drest up in peacock’s feathers, for they have not appropriated any dead knowledge (“angelernte todte Begriffe,” as Diesterweg has it), and it cannot be said of them, “They know about much, but know nothing (Sie kennen viel und wissen nichts).” Their knowledge is actual knowledge, for they are taught not what to think but to think, and to exercise their powers of observation and draw conclusions from their own experience. The teacher simply furnishes materials and occasions for this exercise in observing, and as it goes on gives his benevolent superintendence.
§ 100. They learn slowly for another reason. According to Pestalozzi the first conceptions must be dwelt upon till they are distinct and firmly fixed. Buss tells us that when he first joined Pestalozzi at Burgdorf the delay over the prime elements seemed to him a waste of time, but that afterwards he was convinced of its being the right plan, and felt that the failure of his own education was due to its incoherent and desultory character. “Not only,” says Pestalozzi, “have the first elements of knowledge in every subject the most important bearing on its complete outline, but the child’s confidence and interest are gained by perfect attainment even in the lowest stage of instruction.”[163]
§ 101. We have seen that Pestalozzi would have children learn to pray, to think, and to work. In schools for the soi-disant “upper classes” the parents or friends of a boy sometimes say, “There is no need for him to work he will be very well off.” From this kind of demoralization Pestalozzi’s pupils were free. They would have to work, and Pestalozzi wished them to learn to work as soon as possible. In this way he sought to increase their self-respect, and to unite their school-life with their life beyond it.[164]
§ 102. Pestalozzi was tremendously in earnest, and he wished the children also to take instruction seriously. He was totally opposed to the notion which had found favour with many great authorities as e.g., Locke and Basedow, that instruction should always be given in the guise of amusement. “I am convinced,” says he, “that such a notion will for ever preclude solidity of knowledge, and, for want of sufficient exertions on the part of the pupils, will lead to that very result which I wish to avoid by my principle of a constant employment of the thinking powers. A child must very early in life be taught the lesson that exertion is indispensable for the attainment of knowledge”[165] (To G., xxiv, p. 117). But he should be taught at the same time that exertion is not an evil, and he should be encouraged, not frightened, into it. Healthy exertion, whether of body or mind, is always attended with a feeling of satisfaction amounting to pleasure, and where this pleasure is absent the instructor has failed in producing proper exertion. As Pestalozzi says, “Whenever children are inattentive and apparently take no interest in a lesson, the teacher should always first look to himself for the reason”[166] (Ib.).
§ 103. But though he took so serious a view of instruction, he made instruction include and indeed give a prominent place to the arts of singing and drawing. In the Pestalozzian schools singing found immense favour with both the masters and the pupils, and the collection of songs by Nägeli, a master at Yverdun, became famous. Drawing too was practised by all. As Pestalozzi writes to Greaves (xxiv, 117), “A person who is in the habit of drawing, especially from nature, will easily perceive many circumstances which are commonly overlooked, and will form a much more correct impression even of such objects as he does not stop to examine minutely, than one who has never been taught to look upon what he sees with an intention of reproducing a likeness of it. The attention to the exact shape of the whole and the proportion of the parts, which is requisite for the taking of an adequate sketch, is converted into a habit, and becomes productive both of instruction and amusement.”
§ 104. I have now endeavoured to point out the main features of Pestalozzianism. The following is the summing up of these features given by Morf in his Contribution to Pestalozzi’s Biography:—
1. Instruction must be based on the learner’s own experience. (Das Fundament des Unterrichts ist die Anschauung.)