ne revulsion of feeling. A soft hue or a pellucid note
may be an intrinsic pleasure, though a formless one, and one
expressive of no meaning at all.

FORM. While the imagination is stirred most directly by
the immediate material beauty, by the satisfaction of the
senses, beauty of form is an important element in the enhancement
of appreciation. In the plastic arts and in music,
it is, next to the immediate appeal of the sensuous elements
involved, the chief ingredient in the effects produced. And
even in those arts which are notable for their expressive values,
poetry, fiction, drama and painting, the appeal of form, as
in the plot of a drama, or the structure of an ode or it sonnet
is still very high. Certain dispositions of line and color in
painting; of harmony and counterpoint in music; rhythm,
refrain, and recurrence in poetry; symmetry and balance in
sculpture; all have their specific appeal, apart from the materials
used or the emotions or ideas expressed. Certain harmonic
relations are interesting in music apart from the particular
range of notes employed, or the particular melody upon
which variations are made. The pattern of a tapestry may
be interesting, apart from the color combinations involved.
The structure of a ballade or a sonnet may be beautiful, apart
from the melody of the words or the persuasiveness of the
emotion or idea. Out of the factors which enter into the
appreciation of form certain elements stand out.

There is, in the first place, _symmetry_, the charm of which
lies partly in recognition and rhythm. "When the eye runs
over a facade, and finds the objects that attract it at equal
intervals, an expectation, like the anticipation of an inevitable
note or requisite word, arises in the mind, and its non-satisfaction
involves a shock."[1]

[Footnote 1: Santayana: _The Sense of Beauty_, p. 92.]

Similarly, form given to material brings a variety of details
under a comprehensive unity, enabling us to have at once the
stimulation of diversity and the clarification of a guiding
principle. We cherish sensations in themselves, when they
consist of elements like limpidness of color and lucidity of
sound. But too much miscellany of sensation is disquieting;
it has an effect analogous to noise. A baby or a barbarian
may delight in loud heterogeneity and vivid confusion, but
extravagance of sensation does not constitute an aesthetic
experience.

The discovery of the one in the many, the immediat