take their place--we do not image what we can see. In sculpture, the
greater part of the imagery is of touch and motion--in the imagination,
we feel the surfaces and move with the represented motions; the
whiteness or blackness of the materials prevents the arousal of the
image of the color of the body. In painting, besides the temperature
images already mentioned, there are touch images--in still-life, for
example, when silks and furs are represented; images of odors, in
flower pieces; of motion, in pictures which depict motion, as in the
racing horses of Degas; of taste, in pictures of wine and fruit. Of
course the kind and amount of imagery depend upon the imaginal type
to which the spectator belongs and the wealth of the imaginal furnishing
of his mind. In any art, moreover, the chief and requisite thing is
expression through the sense medium, which should never be obscured
by expression through associated images. It is not the primary business
of a flower painter to arouse images of perfume, but to compose colors
and lines; nor the function of the musician to arouse the visual images
which accompany the musical experience of many people, but to compose
sounds. In sculpture, on the other hand, images of touch and movement
play an almost necessary part, for they are constituent elements in
the representation of form and motion; yet it is not indispensable to
the appreciation of sculpture that images of the sweet odor of the
human body be awakened. The image is seldom the basis of aesthetic
appreciation; it is more often its completion. But we shall go into
these matters more in detail in our special chapters.

In the representative arts, particularly painting and sculpture, the
associated images are fused with the visual sensations which constitute
the medium. I see the softness and sweet-odorousness of the painted
rose petal, just as I see the real rose soft and sweet; I see the
surface of the statue firm and shapely, just as I see the human body