literature of special studies in the facts of aesthetic
production and enjoyment. Experiments with the aesthetic
elements; investigations into the physiological psychology
of aesthetic reactions; studies in the genesis and development
of art forms, have multiplied apace. But these are still
mere groups of facts for psychology; they have not been taken
up into a single authoritative principle. Psychology cannot
do justice to the imperative of beauty, by virtue of which,
when we say "this is beautiful," we have a right to imply
that the universe must agree with us. A synthesis of these
tendencies in the study of beauty is needed, in which the
results of modern psychology shall help to make intelligible
a philosophical theory of beauty. The chief purpose of this
book is to seek to effect such a union.

A way of defining Beauty which grounds it in general principles,
while allowing it to reach the concrete case, is set forth in
the essay on the Nature of Beauty. The following chapters aim
to expand, to test, and to confirm this central theory, by
showing, partly by the aid of the aforesaid special studies,
how it accounts for our pleasure in pictures, music, and
literature.

The whole field of beauty is thus brought under discussion;
and therefore, though it nowhere seeks to be exhaustive in
treatment, the book may fairly claim to be a more or less
consistent and complete aesthetic theory, and hence to
address itself to the student of aesthetics as well as to the
general reader. The chapter on the Nature of Beauty, indeed,
will doubtless be found by the latter somewhat technical, and