The error of confounding esthetic enjoyment with mere organic sense pleasure is characteristic of all sensist and materialist philosophies. A feeling of sensible gratification always, no doubt, accompanies our apprehension and enjoyment of the beautiful; for just as man is not a merely sentient being so neither is he a pure intelligence. Beauty reaches him through the senses; in order that an object be beautiful for him, in order that the contemplation of it may please him, it must be in harmony with his whole _human_ nature, which is both sentient and intelligent; it must, therefore, be agreeable to the senses and imagination as well as to the intellect. “There is no painting,” writes M. Brunetière,(199) “but should be above all a joy to the eye! no music but should be a delight for the ear!” Otherwise we shall not apprehend in it the order, perfection, harmony, adaptation to human nature, whereby we pronounce an object beautiful and rejoice in the contemplation of it. And it is this intellectual activity that is properly esthetic. “What makes us consider a colour beautiful,” writes Bossuet,(200) is the secret judgment we pronounce upon its adaptation to the eye which it pleases. Beautiful sounds, songs, cadences, have a similar adaptation to the ear. To apprehend this adaptation promptly and accurately is what is described as having a good ear, though properly speaking this judgment should be attributed to the intellect. According to some the esthetic sentiment, the appreciation and enjoyment of the beautiful, is an exclusively subjective experience, an emotional state which has all its sources within the conscious subject, and which has no real, extramental correlative in things. According to others beauty is already in the extramental reality independently of any subjective conditions, and has no mental factors in its constitution as an object of experience. Both of these extreme views are erroneous. Esthetic pleasure, like all pleasure, is the natural concomitant of the full, orderly, normal exercise of the subject’s conscious activities. These activities are called forth by, and exercised upon, some _object_. For esthetic pleasure there must be in the object something the contemplation of which will elicit such harmonious exercise of the faculties. Esthetic pleasure, therefore, cannot be purely subjective: there must be an objective factor in its realization. But on the other hand this objective factor cannot provoke esthetic enjoyment independently of the dispositions of the subject. It must be in harmony with those dispositions—cognitive, appetitive, affective, emotional, temperamental—in order to evoke such a mental view of the object that the contemplation of the latter will cause esthetic pleasure. And it is precisely because these dispositions, which are so variable from one individual to another, tinge and colour the mental view, while this in turn determines the quality of the esthetic