These strictures do not apparently apply, at any rate in the same degree, where two media appealing to two different senses are used simultaneously. We are accustomed to correlate sight and hearing and to form through them a single intuition. This may explain the extraordinary satisfyingness of the Russian Ballet, in spite of its frequent artificiality and the perverted themes and imagery that pass unnoticed by the more healthy-minded public of England. The episodic side, made rhythmical and ordered in its choregraphic presentation, parallels, but does not constrain in any great degree, the musical side. In Les Sylphides especially the same intuition is expressed in two media. The choregraphic artist has studied and followed out the intuition of Chopin, and has expressed it in a different medium. But music and dancing have much ground in common, and consequently both are capable of serving as the technical medium for one or the same intuition. Therefore Les Sylphides[49] is more of an artistic whole than almost any other compound aesthetic expression. Art must be free, and if it use two media, both must express the same intuition--this is the root of the matter. You may appeal simultaneously to two senses, but you must do so in the medium proper to each sense and the intuition must be capable of expression in those media. To appeal to one sense through the medium proper to another is to court disaster. We see that this must be so if, as is the case, the aesthetic intuition has to be founded on the particular before it can move out to discover the universal; and the particular cannot be faithfully represented if the representation is not as clear-cut as the intuition and the reality intuited. Art must be free, for it is the intuition of a relation free on one side at least, and not finally satisfied till it finds rest in mutuality, love, free on both sides. It is the expression of our growing understanding of the meaning of Reality. No doubt music, like all other arts, has been transformed from its original character. It is no longer imitative, though it may have been first roused by imitative attempts; it is no longer dependent on the harmony of bodily well-being, though it may first have expressed such harmony. In it spirit calls to spirit, no longer body to body. But this need not surprise us. The foundations contribute nothing to the beauty of a building, though upon them the building is reared. All that is greatest in man had a very humble beginning. Even his limbs and lungs had a plebeian ancestry.