have effects on other experiences, which have to be considered in
measuring its total worth; but these we shall leave for investigation
in our last chapters, after we have reached our fullest comprehension
of art; we are interested now, in order to test and complete our
definition, in the resident value only. As a help toward reaching a
satisfactory view, let us examine critically some of the chief theories
in the field. First, the theory, often called "hedonistic," that the
value of art consists in the satisfactions of sense which the media
of aesthetic expression afford--the delight in color and sound and
rhythmical movement of line and form. The theory finds support in the
industrial arts, where beauty often seems to be only a luxurious charm
supervening upon utility; but also in painting and sculpture when
appreciated in their decorative capacity as "things of beauty." There
is a partial truth in this theory; for, as we have seen, the sensuous
media of all the arts tend to be developed in the direction of pleasure;
and no man who lacks feeling for purely sensuous values can enter into
the fullness of the aesthetic experience. But the theory fails in not
recognizing the expressive function of sensation in art. As Goethe
said, art was long formative, that is, expressive, before it was
beautiful, in the narrow sense of charming.[Footnote: "Die kunst is
lange bildend eh sie schon ist." _Von Deutscher Baukunst_, 1773.]
In order to be beautiful, it is not enough for a work of art to offer
us delightful colors and lines and sounds; it must also have a
meaning--it must speak to us, tell us something.

The second theory which I shall examine is the moralistic or Platonic.
According to this, art is an image of the good, and has value in so
far as through expression it enables us to experience edifying emotions
or to contemplate noble objects. The high beauty of the "Sistine
Madonna," for example, would be explained as identical with the worth