worshiper of beauty has given evidence of the same feelings.
And yet, in his aesthetic rapture, the latter dwells with
deliberation on his delights, and while luxuriating in the
infinite labyrinths of beauty can scarcely be described as
musing on an undifferentiated Unity. So far, at least, it
does not appear that our formula applies to aesthetic feeling.

Aesthetic feeling arises in the contemplation of a beautiful
object. But what makes an object beautiful? To go still
further back, just what, psychologically, does contemplation
mean? To contemplate an object is to dwell on the idea or
image of it, and to dwell upon an idea means to carry it out
incipiently. We may go even further, and say it is the
carrying out by virtue of which we grasp the idea. How do
we think of a tall pine-tree? By sweeping our eyes up and
down its length, and out to the ends of its branches; and if
we are forbidden to use our eye muscles even infinitesimally,
then we cannot think of the visual image. In short, we
perceive an object in space by carrying out its motor
suggestions; more technically expressed, by virtue of a
complex of motor impulses aroused by it; more briefly, by
incipiently imitating it. Contemplation is inner imitation.

Now a beautiful object is first of all a unified object; why
this must be so has been considered in the preceding chapter.
In it all impulses of soul and sense are bound to react upon
one another, and to lead back to one another. And all the
elements, which in contemplation we reproduce in the form of
motor impulses, are bound to make a closed circle of these
suggested energies. The symmetrical picture calls out a set