I know that I must now justify this comparison. When I make it I am accustomed to indignant protest on the part of some of my students. Is it not unworthy to compare the music of the Moonlight Sonata to a mere physical sensation like the taste of an olive? Only as it may be considered unworthy to compare the great and the small; the complex and the simple. Both the taste of the olive and the sound of the sonata, have a physical origin and impress the brain through the agency of the sense organs. And as a matter of fact I doubt whether the sensation of the music is much more complicated than that of the taste. We know that an acoustic sensation is a unit. When a chorus is singing with orchestral accompaniment the result is not a hundred sound waves, but one; it strikes the ear drum as a unit, and that vibrates as a unit, so that the impression on the brain, about whose mechanism we are ignorant, must also be a unit. The popularity of the phonograph enables us to illustrate this familiarly. Examine with a microscope a record of a complicated musical performance, with many voices and many different kinds of instruments, and you will find a single wavy line. When the needle causes the disk to vibrate by following this line, it vibrates as a unit, just as the ear-drum does. There is but one disk, yet its vibration enables us to pick out separately the different voice parts, and to recognize the separate quality of the stringed instruments, the woodwinds and the brasses, with the drums, bells, and what not. When we taste the olive, we get a sort of chemical effect. We do not know what happens as definitely as we do in the case of a musical sound, but the various atoms, each vibrating in its own way, act upon the taste-buds of the tongue so that a sensation is transmitted to the brain--transmitted as a unit, just as the sound is. I want to be fair, so I will acknowledge that instead of comparing a single sensation of taste to a sequence of sounds, I should have likened it to a musical chord. To get a taste analogy with a sonata we should have to use a sequence of taste sensations, possibly that presented by a course dinner. I submit, however, that this does not affect my argument. Let me repeat my conviction, then, that art is primarily a matter of the heart and not of the head--of the feelings and not of the intellect, and that the feelings are trained by personal experience, not by study. One cannot learn to appreciate a poem, or a picture or a piece of music by examining it historically or structurally, only by experiencing it and others like it again and again, and also by experiencing in life the emotions that the art is intended to arouse. Of course I do not mean to say that knowledge of history and technique is not interesting and valuable. It is highly interesting to know the recipe for the pie and to watch the cook make it; but this does not affect the taste.