In every room, on the outside of the building, architecture and decoration will form a beautiful whole; and the artistic objects, detached from the building, for the adornment of the school will be partly originals, partly casts and copies of famous originals. The sense for art will not be awakened by direct artistic instruction, either in the school or when visiting museums. Classes can perhaps get such knowledge when taken around museums; but love for art can only be gained when the scholar is surrounded by art; when he can absorb it in peace and freedom. Let this quiet progress be anticipated by instruction--I don't mean the admiring criticism of the teacher himself, which he in passing expresses without explanation or questioning--and the inevitable result is troubling the water of a living well. Interference here, as in all other cases, destroys the individual pleasure of discovery. Constantly being taken about really impairs the capacity for seeing for oneself. In art, in literature, and in religion, all instruction is a mistake until the young mind has chosen some part of it as an object to be known. Knowledge destroys, feeling creates, life. But the roots of feeling are easily injured. As to visits to museums under the direction of a teacher, they are only of use when the scholar has previously made, on his own account, his own discoveries. To these he should be stimulated by the teacher. When occupied in the study of Greek history, he will be asked for a description of Greek sculpture that is to be found in such and such a museum. When lectures are given on the Dutch War of Independence, Dutch pictures will be described. Only after the scholar has used his own eyes, and formed his own judgments, will a synthesis of his experiences under external guidance be of use. The same holds good of natural-history, historical, and ethnographical museums. Taking children around in herds produces very slight results unless they have been put in the way of noticing things by themselves.