or integrity of impression by force of which we are able to feel
significance and the relation of the object to our own experience. It
is an error to suppose that beauty must be racked on a procrustean
bed of formula. Such false conceptions result in sham art. To create
a work which shall be beautiful it is not necessary to "smooth, inlay,
and clip, and fit." Beauty is not imposed upon material from without,
according to a recipe; it is drawn out from within by the integrating
power of imagination. Art is not artificiality. Art is the expression of
vital emotion and essential significance. The beauty of architecture,
for example, consists not in applied ornament but in structural
fitness and adaptability, and grows out of the inherent needs of the
work. The cathedral-builders of old time did not set themselves to
create a "work of art." They wanted a church; and it was a church
they built. It is we who, perceiving the rightness of their
achievement, pronounce it to be beautiful. Beauty is not
manufactured, but grows; it cannot be laid on as ornament. Beauty is
born out of the contact of the spirit of man with natural forms, that
contact which gives to objects their significance.

The recognition of the true nature of beauty may change for us the
face of the world. Some things are universally regarded as beautiful
because their appeal is universal. There are passions, joys,
aspirations, common to all the race; and the forms which objectify
these emotions are beautiful universally. We can all enter into the
feelings that gather about a group of children dancing round a
Maypole in the Park; but in the murk and din and demoniacal
activity of the Locomotive Works the appeal is not so obvious. The
stupendous workshops become beautiful to me as my being merges
into harmony with them and dilates with the emotion of intenser and
fuller life. The Sistine Madonna is generally regarded as beautiful.
But what is the beauty in the unspeakable witch on the canvas of
Frans Hals? Harmony of color and of composition is employed by
Raphael in the rendering of a figure and in the expression of an
emotion both of which relate themselves to the veneration of
mankind. Maternity, Christian or pagan, divine or human, evokes its
universal tribute of feeling. On Raphael's canvas complete harmony
is made visible; and the beauty of the picture for us is measured by
its power to stir us. In the painting by Frans Hals the subject
represented is in