same emotions felt, twenty years earlier, for the rector's daughter.
Clearly the word "beauty" is used to connote the objects of quite
distinguishable emotions, and that is a reason for not employing a term
which would land me inevitably in confusions and misunderstandings with
my readers.

On the other hand, with those who judge it more exact to call these
combinations and arrangements of form that provoke our aesthetic
emotions, not "significant form," but "significant relations of form,"
and then try to make the best of two worlds, the aesthetic and the
metaphysical, by calling these relations "rhythm," I have no quarrel
whatever. Having made it clear that by "significant form" I mean
arrangements and combinations that move us in a particular way, I
willingly join hands with those who prefer to give a different name to
the same thing.

The hypothesis that significant form is the essential quality in a work
of art has at least one merit denied to many more famous and more
striking--it does help to explain things. We are all familiar with
pictures that interest us and excite our admiration, but do not move us
as works of art. To this class belongs what I call "Descriptive
Painting"--that is, painting in which forms are used not as objects of
emotion, but as means of suggesting emotion or conveying information.
Portraits of psychological and historical value, topographical works,
pictures that tell stories and suggest situations, illustrations of all
sorts, belong to this class. That we all recognise the distinction is
clear, for who has not said that such and such a drawing was excellent
as illustration, but as a work of art worthless? Of course many
descriptive pictures possess, amongst other qualities, formal
significance, and are therefore works of art: but many more do not. They