The inner is the emotion in the soul of the artist. This emotion has the power to arouse a similar feeling in the soul of the observer. The soul being connected with the body it is affected through the medium of the senses--feelings; emotions are stirred and aroused by sensations. Hence our sensations are the bridge, the physical connection between the _immaterial_, the emotion in the soul of the artist, to the _material_, resulting in the production of the work of art. And again the sensations are the bridge from the _material_, the artist, and his work, to the _immaterial_, emotion in the soul of the observer. The sequence is, _emotion_ (in artist)--sensations--_work_--sensations--_emotion_ (in observer). The two emotions will be like and equal to the extent the _work_ is successful. In this respect a painting is no different from a song, each is a message; the successful singer succeeds in arousing in his hearers the emotions he feels; the successful painter should do no less. The inner element, emotion, must exist, else the work will be a sham. The inner element determines the _character_ of the work. In order that the inner element which at first exists only as an emotion, may develop into work, the _second_ element--the _outer_ is used as the embodiment. Therefore emotion is always seeking means of expression, seeking a material form, a form that can stir the senses.[51] The _vital_, the _determining_ element is the _inner_, that controls the outer form, even as the idea in the mind determines the words we use, and not the words the idea. Therefore the selection of the _form_ of a work of art is determined by the _inner_ irresistible force--this is the only unchangeable _law_ of art. A _beautiful_ work is the product of the harmonious cooperation of the two elements, the inner and outer. A painting, for instance, is an intellectual organism which, like every material organism, consists of many parts. These single parts, if isolated, are as lifeless as a finger severed from the hand. The single parts live only through the whole. The endless number of single parts in a painting is divided into two groups: 1. The _designed_ form. 2. The _picturesque_ form. * * * * * An examination of a work of art, especially a painting, [Illustration: VAN GOGH Woman with Frying Pan] [Illustration: VAN GOGH Chair with Pipe] usually discovers the presence of parts and forms drawn from _nature_, from _objects_. As the _imitation_ of natural forms forms no part of the definition of pure art how is it these objective representations creep in? The origin of painting was the same as that of the other arts, and of every human action. It was _purely practical_. If a native hunter chases game for days, he is induced to do so by _hunger_. If today a princely hunter chases game, he is induced to do so by the desire for _enjoyment_. Just as hunger is of _bodily_ value, here the enjoyment is of _aesthetic_ value.