But there are different kinds of beauty as well as degrees. One kind may be more quickly recognized, and yet make a weaker impression on the mind, a condition which is due to the varying relations between the sensorial and intellectual elements in the works. We note that in all the Associated Arts, as the works therein descend in æsthetic value, the emotional element becomes more evident, and consequently the impression received, less permanent. But sensorial beauty is the first essential in a work of art: hence while the direct appeal to the mind must be made as strong as possible, this must not be done at the expense of the emotional elements. We unconsciously measure the emotional with the intellectual effect, and if the former does not at least equal the latter, we reject the work as inferior art. A painted Madonna wanting in beauty of features is instantly and properly condemned even if her figure be enshrined within surroundings of saintly glories which in themselves make a powerful appeal to the mind. In fact the highest reaches in art were probably originally suggested by the necessity of balancing the one with the other form of beauty. The highest intellectual considerations seem to rise far above any emotional experiences connected with ordinary life, and hence to enable these considerations to enter the domain of art, the divine must be introduced so that the artist may extend his imaginative scope for the provision of emotional effects commensurate, as far as possible, with the importance of his appeal to the mind. Hence in all arts which combine an intellectual with an emotional appeal, the highest forms must ever be connected with the spiritual.