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to withdraw. They thought they had a better right to remain in the fold, than those had who expelled them.
I have now said what I had to say on the two kinds of education which the system of schools and universities is intended to promote—intellectual education, and moral education: knowledge and the training of the knowing faculty, conscience and that of the moral faculty. These are the two main ingredients of human culture; but they do not exhaust the whole of it. There is a third division, which, if subordinate, and owing allegiance to the two others, is barely inferior to them, and not less needful to the completeness of the human being; I mean the aesthetic branch; the culture which comes through poetry and art, and may be described as the education of the feelings, and the cultivation of the beautiful. This department of things deserves to be regarded in a far more serious light than is the custom of these countries. It is only of late, and chiefly by a superficial imitation of foreigners, that we have begun to use the word Art by itself, and to speak of Art as we speak of Science, or Government, or Religion: we used to talk of the Arts, and more specifically of the Fine Arts: and even by them were vulgarly meant only two forms of art, Painting and Sculpture, the two which as a people we cared least about—which were regarded even by the more cultivated among us as little more than branches of domestic ornamentation, a kind of elegant upholstery. The very words "Fine Arts" called up a notion of frivolity, of great pains expended on a rather trifling object—on something which differed from the cheaper and commoner arts of producing pretty things, mainly by being more difficult, and by giving fops an opportunity of pluming themselves on caring for it and on being able to talk about it. This estimate extended in no small degree, though not altogether, even to poetry; the queen of arts, but, in Great Britain, hardly included under the name. It cannot exactly be said that poetry was little thought of; we were proud of our Shakespeare and Milton, and in one period at least of our history, that of Queen Anne, it was a high literary distinction to be a poet; but poetry was hardly looked upon in any serious light, or as having much value except as an amusement or excitement, the superiority of which over others principally consisted in being that of a more refined order of minds. Yet the celebrated saying of Fletcher of Saltoun, "Let who will make the laws of a people if I write their songs," might have taught us how great an instrument for acting on the human mind we were undervaluing. It would be difficult for anybody to imagine that "Rule Britannia," for example, or "Scots wha hae," had no permanent influence on the higher region of human character; some of Moore s songs have done more for
