Improvement in the methods of education in appreciation must involve the total abolition of the Examination system. Examinations may be able to show whether a man can draw “correctly”, play the notes of a composition, or is versed in the dates of a number of writers and able to list their important works. But it cannot possibly give any indication whether the education in appreciation is achieving its real aim--the increase of the student’s ability to enjoy more and better things, to find greater happiness and richer artistic experiences. Those who would develop the appreciative faculties of others must take the results of their labours for granted. As before said, our ideas of how to instil a love of beauty, how to awaken interest in and arouse perception of artistic values, are still vague. It is a matter which cannot be taught by rule of thumb. It is not concerned with ascertained facts, nor discoverable by ordered experiment. It is an individual matter. Largely, in practice, such instruction will be exemplary rather than explanatory. Much of the time spent will be devoted to introducing to students actual examples of the art, and thereby the obstacles of ignorance and prejudice will be removed. In addition to this, however, some systematic instruction in the principles of aesthetics, of the general criteria of works of art--completeness, congruity, balance, and proportion, the subordination of details, the relation of means to ends--will be evolved. I would suggest as a starting-point the study of _form_, of the anatomy or architecture of art. Apart from the moral value of cultivating a sense of proportion, of perspective, of the inter-relation of parts--a sense which is as essential to a sane life as to the appreciation of a picture or a musical composition--nothing could lead more readily to an understanding of the artist’s aims and plan of campaign. In music, for instance, a brief account of the sequence of the main themes, which could be memorized, would render intelligible and _whole_ a composition which otherwise would seem meaningless, shapeless, and dreary. VII The fact remains, however, that the percentage of the population which is affected by systematic education is, and is likely to remain, very, very small. The artistic regeneration of the world would be a very slow process if it depended entirely upon the existence of a definite desire for education. Before any one will come into contact with educational institutions he must have attained to a relatively high standard of appreciation and he must be endowed already with considerable enthusiasm for art. The greater problems are clearly: (_a_) how to increase the interest of those who are almost if not entirely indifferent to the point when they _will_ desire systematic instruction; and (_b_) how to benefit those who will never (maybe _can_ never) reach even that stage, or who will prefer to “educate themselves”.