a figure as the Apollo, and moreover so original a figure. It certainly required an exceptionally bold mind to overcome the difficulty in rendering the traditionally semi-feminine form of Apollo by representing him as a young man just past his teens. Besides, the general delicacy of the work is not in the style of Timoteo. Passavant's objection to the limbs is overruled by the presence of similar limbs in the Mond Crucifixion. It would seem then that Morelli was right in assigning the beautiful little picture to the youthful period of the greatest of all painters. [a] See Portrait of a young Man at Budapest, and the Terranuova Virgin and Child at Berlin. NOTE 49. PAGE 138 The white races are here referred to merely by way of example, and there is no intention to suggest that the more or less uncivilized peoples have no perception of beauty. It is well known that both semi-civilized and savage races differ from the whites in the matter of beauty, and the fact has been partly responsible for several theories for explaining æsthetic perception, notably that of association, laid down by Alison and Jeffrey, but long since discarded. Seeing that there is no difference in kind between the sense nerves of the whites and the blacks, they must necessarily act in the same way. That the blacks appreciate as beautiful forms which the whites disregard, seems to arise partly from want of experience, partly from training, and partly from neglect in the exercise of the sense nerves. Take for example an inhabitant of Morocco where corpulency is commonly regarded as an element of beauty in women. If none but Moroccan women are seen or pictured, it is impossible for a higher form of beauty than is to be found amongst them to be conceived, for the imagination cannot act beyond experience. In cases where the Moroccan has had experience of both white and black, it is certain that, other things being equal, the white woman would be the more admired, for this is the general experience among the black races, and is strikingly noticeable in America with the descendants of African tribes. The appreciation of very fat women can easily be understood on the ground of custom or training. A youthful Moroccan may be firmly of opinion that corpulency is not an element of beauty, but seeing that his older acquaintances hold a contrary view, he may well form the conclusion that his judgment is wrong, and so accept the decision of his more mature countrymen. It is quite common among the whites for people to doubt their own æsthetic perceptions when an inferior work of art is put forward as a thing of beauty. The general want of appreciation of certain musical harmonies on the part of uncivilized peoples is undoubtedly due to the neglect of the sense nerves concerned, for these are not cultivated except to a small extent involuntarily. The most ignorant and poor of the whites unavoidably come into frequent contact with the simpler forms of art,