painting are not only interesting to us as beautiful colors, but as
symbols of a landscape; the words of a ballad charm and stimulate us
not only through their music, but because of actions or events which
they bring before the mind. This involves, psychologically speaking,
that certain ideas--of trees and clouds in the painting, of men and
their deeds in the poem--are associated to the sense elements and
constitute their meaning. Such ideas or meanings are the third class
of elements in the aesthetic experience. But these ideas, in their turn,
also arouse emotions, only not of the indefinite sort which belong to
the sense elements, but definite, like the emotions aroused by things
and events in real life. For example, Rembrandt's "Man with the Gold
Helmet" will not only move us in a vague way through the character and
rhythm of its lines and colors, but will, in addition, stimulate
sentiments of respect and veneration, similar to those that we should
feel if the old warrior were himself before us. In such definite
feelings we have, then, a fourth class of mental elements. A fifth
class will make our list complete. It consists of images from the
various sense departments--sight, hearing, taste, smell, temperature,
movement--which arise in connection with the ideas or meanings, making
them concrete and full. For example, some of the colors in a landscape
painting will not only give us the idea that there is sunlight there,
but will also arouse faint images of warmth, which will make the idea
more vivid; other colors, representing the clouds, will produce faint
sensations of softness; still others, representing flowers, may produce
faint odors.

Let us study sensation as an element in beauty, first. Sensation is
the door through which we enter into the experience of beauty; and,
again, it is the foundation upon which the whole structure rests.
Without feeling for the values of sensation, men may be sympathetic