eeding year? Why not tell these young people the truth and let them
be prepared for the fate that must come sooner or later?

But the cynic forgets that there are some people who never lose their
illusions,--some men and women who are always young,--and, whatever may
be the type of men and women that other callings and professions desire
to enroll in their service, this is the type that education needs. The
great problem of the teacher is to keep himself in this class, to keep
himself young, to preserve the very things that the cynic pleases to
call the illusions of his youth. And so much do I desire to impress
these novitiates into our calling with the necessity for preserving
their ideals that I shall ask them this evening to consider with me some
things which would, I fear, strike the cynic as most illusionary and
impractical. The initiation ceremonies that admitted the young man to
the privileges and duties of knighthood included the taking of certain
vows, the making of certain pledges of devotion and fidelity to the
fundamental principles for which chivalry stood. And I should like this
evening to imagine that these graduates are undergoing an analogous
initiation into the privileges and duties of schoolcraft, and that
these vows which I shall enumerate, embody some of the ideals that
govern the work of that craft.

II

And the first of these vows I shall call, for want of a better term, the
vow of "artistry,"--the pledge that the initiate takes to do the work
that his hand finds to do in the best possible manner, without reference
to the effort that it may cost or to the reward that it may or may not
bring.

I call this the vow of artistry because it represents the essential
attitude of the artist toward his work. The cynic tells us that ideals
are illusions of youth, and yet, the other day I saw expressed in a
middle-aged working-man a type of idealism that is not at all uncommon
in this world. He was a house painter; his task was simply the prosaic
job of painting a door; and yet, from the pains which he took with that
work, an observer would have concluded that it was, to the painter, the
most important task in the world. And that, after all, is the true test
of craft artistry: to the true craftsman the work that he is doing must
be the most important thing that can be done. One of the best teachers
that I know is that kind of a craftsman in education. A student was once
sent to observe his work. He was