Real talent for Art cannot fail to be called out by the educational system of Positivism, which, though intended for the working classes, is equally applicable to all others. We can only idealize and portray what has become familiar to us; consequently poetry has always rested upon some system of belief, capable of giving a fixed direction to our thoughts and feelings. The greatest poets, from Homer to Corneille, have always participated largely in the best education of which their times admitted. The artist must have clear conceptions before he can exhibit true pictures. Even in these anarchic times, when the system of specialities is being carried to such an irrational extent, the so-called poets who imagine that they can themselves save the trouble of philosophical training, have in reality to borrow a basis of belief from some worn-out metaphysical or theological creed. Their special education, if it can be called so, consists merely in cultivating the talent for expression, and is equally injurious to their intellect and their heart. Incompatible with deep conviction of any kind, while giving mechanical skill in the technical department of Art, it impairs the far more important faculty of idealization. Hence it is that we are at present so deplorably over-stocked with verse-makers and literary men, who are wholly devoid of real poetic feeling, and are fit for nothing but to disturb society by their reckless ambition. As for the four special arts, the training for them at present given, being still more technical, is even more hurtful in every respect to the student whose education does not extend beyond it. On every ground, then, artists of whatever kind should begin their career with the same education as the rest of society. The necessity for such an education in the case of women has been already recognized; and it is certainly not less desirable for artists and poets.