Far from this, whilst all our senses give us agreeable sensations, only two have the privilege of awakening in us the idea of beauty. Does one ever say: This is a beautiful taste, this is a beautiful smell? Nevertheless, one should say it, if the beautiful is the agreeable. On the other hand, there are certain pleasures of odor and taste that move sensibility more than the greatest beauties of nature and art; and even among the perceptions of hearing and sight, those are not always the most vivid that most excite in us the idea of beauty. Do not pictures, ordinary in coloring, often move us more deeply than many dazzling productions, more seductive to the eye, less touching to the soul? I say farther; sensation not only does not produce the idea of the beautiful, but sometimes stifles it. Let an artist occupy himself with the reproduction of voluptuous forms; while pleasing the senses, he disturbs, he repels in us the chaste and pure idea of beauty. The agreeable is not, then, the measure of the beautiful, since in certain cases it effaces it and makes us forget it; it is not, then, the beautiful, since it is found, and in the highest degree, where the beautiful is not. This conducts us to the essential foundation of the distinction between the idea of the beautiful and the sensation of the agreeable, to wit, the difference already explained between sensibility and reason. When an object makes you experience an agreeable sensation, if one asks you why this object is agreeable to you, you can answer nothing, except that such is your impression; and if one informs you that this same object produces upon others a different impression and displeases them, you are not much astonished, because you know that sensibility is diverse, and that sensations must not be disputed. Is it the same when an object is not only agreeable to you, but when you judge that it is beautiful? You pronounce, for example, that this figure is noble and beautiful, that this sunrise or sunset is beautiful, that disinterestedness and devotion are beautiful, that virtue is beautiful; if one contests with you the truth of these judgments, then you are not as accommodating as you were just now; you do not accept the dissent as an inevitable effect of different sensibilities, you no longer appeal to your sensibility which naturally terminates in you, you appeal to an authority which is made for others as well as you, that of reason; you believe that you have the right of accusing him with error who contradicts your judgment, for here your judgment rests no longer on something variable and individual, like an agreeable or painful sensation. The agreeable is confined for us within the inclosure of our own organization, where it changes every moment, according to the perpetual revolutions of this organization, according to health and sickness, the state of the atmosphere, that of our nerves, etc. But it is not so with beauty; beauty, like truth, belongs to none of us; no one