ense, but which we see arises so
naturally everywhere?

[Page: 83] J--FROM "SCHOOL" TO "CLOISTER"

The preceding view is, as yet, too purely determinist. The due place of
ideals, individual and corporate, in their reaction upon the function
and the structure of the city, and even upon its material environment,
has next to be recognised. For where the town merely makes and fixes its
industry and makes its corresponding schools, where its habits and
customs become its laws, even its morality, the community, as we have
just seen, sinks into routine, and therefore decay. To prevent this a
twofold process of thought is ever necessary, critical and constructive.
What are these? On the one hand, a continual and critical selection
among the ideas derived from experience, and the formulation of these as
Ideals: and further, the organisation of these into a larger and larger
whole of thought; in fact, a Synthesis of a new kind. This critical
spirit it is which produced the prophets of Israel, the questioning of
Socrates, and so on, to the journalistic and other criticism of life
to-day. The corresponding constructive endeavour is now no mere School
of traditional learning or of useful information. It is one of science
in a new and reorganised sense; one of philosophy also, one of ideals
above all.

As from the Schools of the Law, as over against these, arise the
prophets, so from the technical and applied sciences, the descriptive
natural sciences, should arise the scientific thinkers, reinterpreting
each his field of knowledge and giving us the pure sciences--pure
geometry henceforth contrasted with mere land surveying, morphology with
mere anatomy, and so on; while instead of the mere concrete encyclopaedia
from Pliny or Gesner to Diderot or Chambers, vast subjective
reorganisations of knowledge, philosophic systems, now appear.
Similarly, the mere observations of the senses and their records in
memory become transformed into the images of the poet, the imagery too
of the artist, for art proper is only thus born. That mere imitation of
nature, which so commonly in the graphic arts (though happily but rarely
in music) has been mistaken for [Page: 84] art, thus modestly returns to
its proper place--that of the iconography of descriptive science.

Thus from the Schools of all kinds of knowledge, past and present, we
pass into the no less varied Cloisters of contemplation, meditation,
imagination. With the historian we might