_Initiation and training_, we have returned to those wretched words, for we also had recognised that without initiation and training there could be no real enjoyment of art. But, looking not at this brief, transitional, and topsy-turvey present, but at the centuries and centuries which have evolved, not only art, but the desire and habit thereof, we have seen what Tolstoi refused to see, namely, that wherever and whenever (that is to say, everywhere and at all times save these present European days) art has existed spontaneously, it has brought with it that initiation and training. The initiation and training, the habit of understanding given qualities of form, the discrimination and preference thereof, have come, I maintain, as a result of practical utility. Or rather: out of practical utility has arisen the art itself, and the need for it. The attention, the familiarity which made beauty enjoyable had previously made beauty necessary. It was because the earthenware lamp, the bronze pitcher, the little rude household idols displayed the same arrangements of lines and surfaces, presented the same patterns and features, embodied, in a word, the same visible rhythms of being, that the Greeks could understand without being taught the temples and statues of Athens, Delphi or Olympia. It was because the special form qualities of ogival art (so subtle in movement, unstable in balance and poignant in emotion that a whole century of critical study has scarce sufficed to render them familiar to us) were present in every village tower, every window coping, every chair-back, in every pattern carved, painted, stencilled or woven during the Gothic period; it was because of this that every artisan of the Middle Ages could appreciate less consciously than we, but far more deeply, the loveliness and the wonder of the great cathedrals. Nay, even in our own times we can see how, through the help of all the cheapest and most perishable household wares, the poorest Japanese is able to enjoy that special peculiarity and synthesis of line and colour and perspective which strikes even initiated Westerns as so exotic, far-fetched and almost wilfully unintelligible.