But as regards the beauty attributed to the object on account of its form, to suppose it to be capable of augmentation through the charm of the object is a common error, and one very prejudicial to genuine, uncorrupted, well-founded taste. We can doubtless add these charms to beauty, in order to interest the mind by the representation of the object, apart from the bare satisfaction [received]; and thus they may serve as a recommendation of taste and its cultivation, especially when it is yet crude and unexercised. But they actually do injury to the judgement of taste if they draw attention to themselves as the grounds for judging of beauty. So far are they from adding to beauty that they must only be admitted by indulgence as aliens; and provided always that they do not disturb the beautiful form, in cases when taste is yet weak and untrained. In painting, sculpture, and in all the formative arts--in architecture, and horticulture, so far as they are beautiful arts--the _delineation_ is the essential thing; and here it is not what gratifies in sensation but what pleases by means of its form that is fundamental for taste. The colours which light up the sketch belong to the charm; they may indeed enliven[28] the object for sensation, but they cannot make it worthy of contemplation and beautiful. In most cases they are rather limited by the requirements of the beautiful form; and even where charm is permissible it is ennobled solely by this. Every form of the objects of sense (both of external sense and also mediately of internal) is either _figure_ or _play_. In the latter case it is either play of figures (in space, viz. pantomime and dancing), or the mere play of sensations (in time). The _charm_ of colours or of the pleasant tones of an instrument may be added; but the _delineation_ in the first case and the composition in the second constitute the proper object of the pure judgement of taste. To say that the purity of colours and of tones, or their variety and contrast, seems to add to beauty, does not mean that they supply a homogeneous addition to our satisfaction in the form because they are pleasant in themselves; but they do so, because they make the form more exactly, definitely, and completely, intuitible, and besides by their charm [excite the representation, whilst they[29]] awaken and fix our attention on the object itself. Even what we call _ornaments_ [parerga[29]], _i.e._ those things which do not belong to the complete representation of the object internally as elements but only externally as complements, and which augment the satisfaction of taste, do so only by their form; as for example [the frames of pictures,[29] or] the draperies of statues or the colonnades of palaces. But if the ornament does not itself consist in beautiful form, and if it is used as a golden frame is used, merely to recommend the painting by its _charm_, it is then called _finery_ and injures genuine beauty.