 It bears repeating that the claim is not that no works of art have any craft-like features; it simply that any definition of art in terms of those features would exclude some unimpeachable works of art (29). Or rather, success in being craft is strictly immaterial to its being art; no craft-features make an object into a work of art. Collingwood is well aware that for example an opera requires a great deal of planning, technique, raw materials, and so on. And because of this, he is well aware that the craft-theory is widely if implicitly held, and devotes a lively excursus to its modern manifestation, namely ‘Art as a Psychological Stimulus’. This is the account of art whereby it is the craft (or ‘technique’) of manipulating certain objects (paint, sound, words and on) so as to bring about psychological states in the audience, which in turn are known, or least knowable, in advance. But this is to assimilate works of art to mere means; Collingwood is quite serious in his denial of this. The artist is not ‘a purveyor of drugs’ (34).