not the only element involved: or at least is must be
settled whether or not it is the only element involved. If
in a work of art, as we believe, what belongs to its excellence
belongs to its beauty, we may not applaud one painter, for
instance, for his marvelous color-schemes, another for his
expression of emotion, another for his delineation of
character, without acknowledging that expression of character
and emotion come within our concept of visible beauty. Franz
von Lenbach was once asked what he thought likely to be the
fate of his own work. "As for that," he replied, "I think I
may possibly have a chance of living; but ONLY if
Individualization or Characterization be deemed to constitute
a quality of permanent value in a picture. This, however, I
shall never know, for it can only be adjudged by posterity.
If that verdict should prove unfavorable, then my work, too,
will perish with the rest,--for it cannot compare on their
lines with the great masters of the past." That this is
indeed an issue is shown by the contrasting opinion of the
critic who exclaimed before a portrait, "Think away the
head and face, and you will have a wonderful effect of color!"
The analysis of visible beauty accordingly resolves itself
into the explanation of the beauty of form (including shape
and color) and the fixing in relation thereto of other
factors.

The most difficult part of our task is indeed behind us. We
have already defined Beauty in general: we have outlined
in a preceding essay the abstract aesthetic demands, and we
have now only to ask through what psychological means these
demands can be and are in fact met. In other words we have