Indeed, so esthetic is the spirit of Positive education, that no special training for Art will be needed, except that which is given spontaneously by practice. There is no other profession which requires so little direct instruction; the tendency of it in Art being to destroy originality, and to stifle the fire of genius with technical erudition. Even for the special arts no professional education is needed. These, like industrial arts, should be acquired by careful practice under the guidance of good masters. The notorious failure of public institutions established for the purpose of forming musicians and painters, makes it unnecessary to dwell further upon this point. Not to speak of their injurious effects upon character, they are a positive impediment to true genius. Poets and artists, then, require no education beyond that which is given to the public, whose thoughts and emotions it is their office to represent. Its want of speciality makes it all the more fit to develop and bring forward real talent. It will strengthen the love of all the fine arts simultaneously; for the connexion between them is so intimate that those who make it a boast that their talent is for one of them exclusively will be strongly suspected of having no real vocation for any. All the greatest masters, modern no less than ancient, have shown this universality of taste. Its absence in the present day is but a fresh proof that esthetic genius does not and cannot exist in times like these, when Art has no social purpose and rests on no philosophic principles. If even amateurs are expected to enjoy Art in all its forms, is it likely that composers of real genius will restrict their admiration to their own special mode of idealization and expression? [Artists as a class will disappear. Their function will be appropriated by the philosophic priesthood] Positivism, then, while infusing a profoundly esthetic spirit into general education, would suppress all special schools of Art on the ground that they impede its true growth, and simply promote the success of mediocrities. When this principle is carried out to its full length, we shall no longer have any special class of artists. The culture of Art, especially of poetry, will be a spontaneous addition to the functions of the three classes which constitute the moral power of society.