extent in dress and manners; and all this toil and moil was _ad
majorem gloriam hominis_ [To the greater glory of man] in a new
socialistic state, where the artist, and even the artisan, should take
his rightful place above the man who merely knows. The day of the mere
professor, who deals in knowledge, is gone; and the day of the doer,
who creates, has come. The brain and the hand, too long divorced and
each weak and mean without the other; use and beauty, each alone
vulgar; letters and labor, each soulless without the other, are
henceforth to be one and inseparable; and this union will lift man to
a higher level. The workman in his apron and paper hat, inspired by
the new socialism and the old spirit of chivalry as revived by Scott,
revering Wagner's revival of the old _Deutschenthum_ that was to
conquer _Christenthum_, or Tennyson's Arthurian cycle--this was its
ideal; even as the Jews rekindled their loyalty to the ancient
traditions of their race and made their Bible under Ezra; as we begin
to revere the day of the farmer-citizen, who made our institutions, or
as some of us would revive his vanishing industrial life for the red
man.

Although this movement was by older men and women and had in it
something of the longing regret of senescence for days that are no
more, it shows us the glory which invests racial adolescence when it
is recalled in maturity, the time when the soul can best appreciate
the value of its creations and its possibilities, and really lives
again in its glamour and finds in it its greatest inspiration. Hence
it has its lessons for us here. A touch, but not too much of it,
should be felt in all manual education, which is just as capable of
idealism as literary education. This gives soul, interest, content,
beauty, taste. If not a polyphrastic philosophy seeking to dignify the
occupation of the workshop by a pretentious Volapuek of reasons and