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 ought to feel; what, if they were properly trained, they would feel; what it is best for their spiritual well-being that they should feel, and so forth. None of which questions, important and interesting as they are, assist us to discover or to apply a scale of values based merely on the aesthetic emotions actually experienced.

II

The conclusions so far reached are in the main negative. We have had to reject the idea that a standard of excellence can either be extracted by critical analysis from the practice of accepted models, or that it can be based on the consensus of experts, or upon universal suffrage. We must recognize that, while training is necessary to the comprehension, and therefore to the full enjoyment, of many works of art—while, in particular, the sympathetic delight in masterly workmanship can hardly be obtained without it—few aesthetic emotions exceed in intensity the simple raptures aroused in naïf souls by works which instructed criticism would often refuse to admire. And we must own that, if, defeated in the attempt to base our judgements on authority, we endeavour to base