In music the Æsthetic element naturally prevails over the other two, but Technic cleverness of execution often affords to some as much pleasure as the harmony of the sounds produced; and, on the other hand, in its power of expressing joy or sorrow and of exciting varied emotions at will, it rivals frequently the more distinct and permanent power of words themselves, when unaccompanied by Æsthetic forms of art. It is of course, however, in the outpourings of his imagination or in the logical products of his reason that man rises highest, and stands most distinctly apart from the rest of created beings; and though all may not be capable of appreciating it, it is when both Technic and Æsthetic adjuncts are laid aside, and man listens only to the voice of reason, that he reaches what, as far as we can now see, is the highest form of his artistic development. Of course there are many other forms in which this might be expressed, and many will be inclined to dispute the correctness of the figures assigned to each art. They are, in fact, only approximations, and as a first attempt can hardly be expected to meet all the conditions of the problem. The truth of the matter is, it would have been better to use algebraic symbols and to allow every one to translate them into numbers according to his own fancy, but in the present state of matters such an attempt would have savoured of affectation. The art of criticism is not sufficiently advanced for this, but if two or three would follow up what is here indicated it might be placed on a basis from which to proceed higher. Meanwhile, perhaps the annexed diagram may serve to explain the relation of the three classes of art to one another, and the way in which they overlap and mix together so as to make up a perfect art. Like the preceding table, it will require several editions, the work of several minds, before it can be perfected, but it probably is not far from representing the truth as at present known.