otes with eager anticipation the technical genius
of a composition as it unfolds, admiring the craft and skill
as well as the vision of the artist. In extreme cases this may,
of course, degenerate into mere pedantry. But at its best,
it is the satisfaction of the man who, having a keen eye for
beauty, is all the more solicitous for its accurate realization.
The satisfactions of the connoisseur are merely a refinement
of less sophisticated forms of appreciation. To appreciate
the bare sounds of music, or the vividness of color in a painting
is the prelude to more discriminating tastes. It is impossible
for most men to have in all the arts expert judgment,
but the ability to be able to discriminate with authority the
technical achievements of a work of genius, while it does not
supplant the emotional and sense satisfaction derived from
the arts, nevertheless enhances them.

ART AND AESTHETIC EXPERIENCE IN THE SOCIAL ORDER. The
creative activity which is, to a peculiar extent, the artist's,
is sought and practiced to some degree by all men. Genius
is rare, but talent of a minor sort is frequent. In the playing
of a musical instrument, in the practice of a handicraft, in
the cultivation of a garden, ordinary men in modern society
find an outlet for invention, craftsmanship, and imagination.
To give this joy of creation, in smaller or larger measure, to
all men is to promote social happiness. In the discussion of
instinct it was pointed out that men come nearest to attaining
happiness when they are doing what is their bent by original
nature, when they are acting out of sheer love of the activity
rather than from compulsion. And since all men possess,
although in moderate degree, the creative impulse, to give
this impulse a chance is a distinct social good.

The employment of the creative imagination demands both
leisure and training. Leisure is needed because, in the routine
activities of industry, men's actions are determined not by
their imagination, but by the immediacies of practical demands.
There may be, as Helen Marot suggests, a possibility
of a wide utilization of the creative impulse in industry. But
a large part of industrial life must of necessity remain routine.
In consequence, during their leisure hours alone, can men
find free scope for some form of aesthetic interest and activity.
The second requisite is training. Even the poor player of an
instrument can derive some pleasure from his performance.
And,