It is in this spirit that loyalty to country as historic object should, we believe, be taught. This idea we teach of course through history, in part, but history alone in any ordinary sense, as we might think of it as a subject in the curriculum of a school, is not enough. These ideas must be made persuasive and dynamic. For this as we see over and over again, art is the true method. The object to be presented and which must inspire devotion is an ideal object. It is complex and it performs practical functions, but it is through and through such an object as appeals most deeply to the aesthetic feelings. The image of this object must be made impressive. Since the ideal of our country is more abstract than that of most countries, as an object still less vivid and less personal, since it lacks some of the means of appeal to the feelings that imperialistic countries have, there is all the more need of art to make the figure of ideal country stand out sharply before us. As we pass beyond the patriotism which is only a love of home, or a devotion to a political unit, to a patriotism that is a loyalty to a more abstract and more intangible idea, the art by which the idea of country is conveyed would, we should suppose, also become more abstract. Hocking says that it is through symbols that the mind best gropes its way to the realization of ideas. Feeling and imagery, we know, are very susceptible to the influences of the symbol, and also to the phrase which is a lower order of symbol. Dramatic representation, all pageantry, pictorial art, music, even the art of the poster artist and the cartoonist have a place in the work of portraying country as an ideal object, and inspiring devotion to it and its causes. A far-seeking educational policy will scorn none of these in its effort to crystallize the concept of country and give it power and reality.