That which flatters our senses in immediate sensation opens our wreak and volatile spirit to every impression, but makes us in the same degree less apt for exertion. That which stretches our thinking power and invites to abstract conceptions strengthens our mind for every kind of resistance, but hardens it also in the same proportion, and deprives us of susceptibility in the same ratio that it helps us to greater mental activity. For this very reason, one as well as the other brings us at length to exhaustion, because matter cannot long do without the shaping, constructive force, and the force cannot do without the constructible material. But on the other hand, if we have resigned ourselves to the enjoyment of genuine beauty, we are at such a moment of our passive and active powers in the same degree master, and we shall turn with ease from grave to gay, from rest to movement, from submission to resistance, to abstract thinking and intuition. This high indifference and freedom of mind, united with power and elasticity, is the disposition in which a true work of art ought to dismiss us, and there is no better test of true æsthetic excellence. If after an enjoyment of this kind we find ourselves specialty impelled to a particular mode of feeling or action, and unfit for other modes, this serves as an infallible proof that we have not experienced _any pure æsthetic_ effect, whether this is owing to the object, to our own mode of feeling—as generally happens—or to both together.