_Analogy of this to the mental Process called Taste._--It is easy to perceive, now, the analogy between the physical power and process thus described, and the psychological faculty under consideration, to which the name primarily denoting the former has been transferred. Objects in nature and art present themselves to the observation, and awaken pleasure as beautiful, or excite disgust as the opposite. A mere matter of sensibility, of feeling, this. Presently, however, we begin to notice, not the mere feeling of pleasure or aversion, but the character of the object that awakens it, we discriminate, we attribute to the object such and such qualities, take cognizance of it as possessing those qualities. This discriminating power, this judgment of the mind that the object possesses such properties, we call taste. As, in the sphere of sense, the feeling awakened affords the means of judging and distinguishing, as to the qualities of the object, so here. The beautiful awakens sensation--a vivid feeling of pleasure, delight, admiration; deformity awakens the reverse; and this feeling enables us to judge of the object, as regards the property in question, viz., beauty or deformity, whether, and how far, as compared with other objects of the mind, it possesses this quality. In either case--the physical and the psychological--the process begins with sensation or feeling, but passes on at once into the domain of intellect, the sphere of understanding or judgment; and while, in either case, the word taste may, without impropriety, be used to denote the feeling or susceptibility of impression which lies at the foundation of the intellectual process, it is more strictly appropriate to the faculty of discriminating the objects, and the qualities of objects, which awaken in us the given emotions. So far as the word itself can guide us, then, it would seem to be in the direction now indicated. _Appeal to Consciousness._--Analogy, however, may mislead us. We must not base a doctrine or decide a question in psychology upon the meaning of a single term. Upon observation and consciousness of what actually passes in our own minds, in view of the beautiful, we must, after all, rely. Let us place ourselves, then, in the presence of the beautiful in nature or art, and observe the various mental phenomena that present themselves to our consciousness. I stand before a statue of Thorwalsden or Canova. The spell and inspiration of high art are upon me. What passes now in my mind?