There are two classes of people who will benefit by education--those who wish to enjoy and those who wish to practise. The needs of the two classes are quite distinct, yet he who would enjoy is often given the instruction provided (or which should be provided) for the others. The disadvantages of this are: (_a_) the enjoyer approaches the subject from quite a different angle, and practical instruction will sometimes depreciate his appreciative faculties. The outsider sees most of the game, and, moreover, one with knowledge of technical matters will tend to allow technical questions to come before purely aesthetic ones; (_b_) He will spend a great deal of time to no purpose, and will waste opportunities and leisure which could be more advantageously applied; (_c_) As he might be, and generally is, entirely devoid of sufficient creative or executive ability to practise to his own satisfaction a certain disappointment and disillusionment will colour his regard for the artistic; (_d_) It is useless and wasteful to give technical instruction to those who cannot and do not desire to apply it. Neither does the practitioner gain. There is a tendency to compromise, and so he does not always obtain the special purposive instruction he needs, and the personnel and institutions fitted to instruct the practitioner cannot devote all their energies to this essential work. Any increased love of art, be it remembered, will cause a much greater demand for professional creative and executive artists. And (_e_) he probably has neither the time nor the inclination for practical studies, and so, if there are no schemes specially for his benefit, he will receive no education at all. Therefore there is a great need for systematic education in the appreciation of art. Many more attempts are being made to-day than there were a few years ago; yet the subject--a very difficult one--is still in its infancy. The methods and aims of such education have not yet been adequately formulated and must exercise educationists in the near future. Failing a well-defined plan, they have taken refuge in aspects of art-instruction which are not those best calculated to stimulate genuine enjoyment. This explains to some extent the confusion of practical and appreciative ends. It explains also our addiction to historical and theoretical studies. He who would study the graphic arts must try to draw and to paint; the music-lover must acquire some sort of executive ability, and so devotes enough time to the routine of “practice” to kill all his enthusiasm; and the student of literature must become versed in its history. The art-lover is probably not getting much harm; the music-lover is now often relieved by mechanical instruments from the necessity for technique; than the historical studies of the last-named, however, nothing more dreary and futile could be invented.