cisions in its content, which, after they are
all made, leave still a background of vital feeling. For the outer
senses are but a portion of our sensorium, and the ideas of each, or
of all together, but a portion of our consciousness.

The pleasures which accompany ideation we have also found to be
unitary and vital; only just as for practical purposes it is necessary
to abstract and discriminate the contribution of one sense from that
of another, and thus to become aware of particular and definable
impressions, so it is natural that the diffused emotional tone of the
body should also be divided, and a certain modicum of pleasure or
pain should be attributed to each idea. Our pleasures are thus
described as the pleasures of touch, taste, smell, hearing, and sight,
and may become elements of beauty at the same time as the ideas
to, which they are attached become elements of objects. There is,
however, a remainder of emotion as there is a remainder of
sensation; and the importance of this remainder -- of the continuum
in which lie all particular pleasures and pains -- was insisted upon
in the beginning.

The beauty of the world, indeed, cannot be attributed wholly or
mainly to pleasures thus attached to abstracted sensations. It is
only the beauty of the materials of things which is drawn from the
pleasures of sensation. By far the most important effects are not
attributable to these materials, but to their arrangement and their
ideal relations. We have yet to study those processes of our mind
by which this arrangement and these relations are conceived; and
the pleasures which we can attach to these processes may then be
added to the pleasures attached to sense as further and more subtle
elements of beauty.

But before passing to the consideration of this more intricate
subject, we may note that however subordinate the beauty may be
which a garment, a building, or a poem derives from its sensuous
material, yet the presence of this sensuous material is indispensable.
Form cannot be the form of nothing. If, then, in finding or creating
beauty, we ignore the materials of things, and attend only to their
form, we miss an ever-present opportunity to heighten our effects.
For whatever delight the form may bring, the material might have
given delight already, and so much would have been gained
towards the value of the total result.

Sensuous beauty is not the greatest or most important element of
effect, but it is the most