Besides，manywhohavenoearforliteratureorformusicareaccessibletoarchitecture，topictures，tostatues，todresses，andtotheartsofthestage。Everydeviceofartshouldbebroughttobearontheyoung；sothattheymaydiscoversomeformofitthatdelightsthemnaturally；fortherewillcometoallofthemthatperiodbetweendawningadolescenceandfullmaturitywhenthepleasuresandemotionsofartwillhavetosatisfycravingswhich，ifstarvedorinsulted，maybecomemorbidandseekdisgracefulsatisfactions，and，ifprematurelygratifiedotherwisethanpoetically，maydestroythestaminaoftherace。Anditmustbeborneinmindthatthemostdangerousartforthisnecessarypurposeistheartthatpresentsitselfasreligiousecstasy。Youngpeopleareripeforlovelongbeforetheyareripeforreligion。OnlyaveryfoolishpersonwouldsubstitutetheImitationofChristforTreasureIslandasapresentforaboyorgirl，orforByron\'sDonJuanasapresentforaswainorlass。Pickwickisthesafestsaintforusinournonage。
Flaubert\'sTemptationofStAnthonyisanexcellentbookforamanoffifty，perhapsthebestwithinreachasahealthystudyofvisionaryecstasy；butforthepurposesofaboyoffifteenIvanhoeandtheTemplarmakeamuchbettersaintanddevil。Andtheboyoffifteenwillfindthisoutforhimselfifheisallowedtowanderinawell-stockedliterarygarden，andhearbandsandseepicturesandspendhispenniesoncinematographshows。Hischoicemayoftenberatherdisgustingtohiselderswhentheywanthimtochoosethebestbeforeheisreadyforit。ThegreatestProtestantManifestoeverwritten，asfarasIknow，isHoustonChamberlain\'sFoundationsoftheNineteenthCentury:everybodycapableofitshouldreadit。ProbablytheHistoryofMariaMonkisattheoppositeextremeofmeritthisisaguess:Ihaveneverreadit；butitiscertainthataboyletlooseinalibrarywouldgoforMariaMonkandhavenousewhateverforMrChamberlain。IshouldprobablyhavereadMariaMonkmyselfifIhadnothadtheArabianNightsandtheirliketooccupymebetter。
Inart，children，likeadults，willfindtheirleveliftheyareleftfreetofindit，andnotrestrictedtowhatadultsthinkgoodforthem。Justatpresentouryoungpeoplearegoingmadoverragtimes，apparentlybecausesyncopatedrhythmsarenewtothem。IftheyhadlearntwhatcanbedonewithsyncopationfromBeethoven\'sthirdLeonoraoverture，theywouldenjoytheragtimesallthemore；buttheywouldputthemintheirproperplaceasamusingvulgarities。
ArtistIdolatryButtherearemoredangerousinfluencesthanragtimeswaitingforpeoplebroughtupinignoranceoffineart。Nothingismorepitiablyridiculousthanthewildworshipofartistsbythosewhohaveneverbeenseasonedinyouthtotheenchantmentsofart。Tenorsandprimadonnas，pianistsandviolinists，actorsandactressesenjoypowersofseductionwhichinthemiddleageswouldhaveexposedthemtotheriskofbeingburntforsorcery。Butastheyexercisethispowerbysinging，playing，andacting，nogreatharmisdoneexceptperhapstothemselves。Fargraverarethepowersenjoyedbybrilliantpersonswhoarealsoconnoisseursinart。Theinfluencetheycanexerciseonyoungpeoplewhohavebeenbroughtupinthedarknessandwretchednessofahomewithoutart，andinwhomanaturalbenttowardsarthasalways
beenbaffledandsnubbed，isincredibletothosewhohavenotwitnessedandunderstoodit。Heorshewhorevealstheworldofarttothemopensheaventothem。Theybecomesatellites，disciples，worshippersoftheapostle。Nowtheapostlemaybeavoluptuarywithoutmuchconscience。Naturemayhavegivenhimenoughvirtuetosufficeinareasonableenvironment。Butthisallowancemaynotbeenoughtodefendhimagainstthetemptationanddemoralizationoffindinghimselfalittlegodonthestrengthofwhatoughttobeaquiteordinaryculture。Hemayfindadorersinalldirectionsinouruncultivatedsocietyamongpeopleofstrongercharacterthanhimself，notoneofwhom，iftheyhadbeenartisticallyeducated，wouldhavehadanythingtolearnfromhimorregardedhimasinanywayextraordinaryapartfromhisactualachievementsasanartist。