“Art for art’s sake” is a cry that is now no longer novel. Taken literally it is unmeaning, for art is a means to an end—the expression of the beautiful; and a means as such cannot be “for its own sake”. But it may signify that art should subserve no _extrinsic_ purpose, professional or utilitarian; that it should be disinterested; that the artist must aim at the conception and expression of the beautiful through a disinterested admiration and enthusiasm for the beautiful. In this sense the formula expresses a principle which is absolutely true, and which asserts the noble mission of the artist to mankind. But the formula is also commonly understood to claim the emancipation of the artist from the bonds of morality, and his freedom to conceive and express beauty in whatever forms he pleases, whether these may aid men to virtue or solicit them to vice. This is the pernicious error to which we have just referred. And we may now add that this erroneous contention is not only ethically but also _artistically_ unsound. For surely art ought to be based on truth: the artist should understand human nature, to which his work appeals: he should not regard as truly beautiful a work the contemplation of which will produce a _discord_ in the soul, which will _disturb the right order_ of the soul’s activities, which will solicit the lower faculties to revolt against the higher; and this is what takes place when the artist ignores moral rectitude in the pursuit of his art: by despising the former he is false to the latter. He fails to realize that the work of art must be judged not merely in relation to the total _amount_ of pleasure it may cause in those who contemplate it, but also in relation to the _quality_ of this pleasure; and not merely in relation to esthetic pleasure, but in relation to the total effect, the whole concrete influence of the work on all the mental faculties. He fails to see that if this total influence is evil, the work that causes it cannot be good nor therefore really beautiful.