3. The soul appreciates beauty by an especially ordered faculty, whose sole function it is to appreciate all that concerns beauty, even when the other faculties take part in this judgment. Often the soul makes her (aesthetic) decisions by comparison with the form of the beautiful which is within her, using this form as a standard by which to judge. But what agreement can anything corporeal have with what is incorporeal? For example, how can an architect judge a building placed before him as beautiful, by comparing it with the Idea which he has within himself? The only explanation can be that, on abstracting the stones, the exterior object is nothing but the interior form, no doubt divided within the extent of the matter, but still one, though manifested in the manifold? When the senses perceive in an object the form which combines, unites and dominates a substance which lacks shape, and therefore is of a contrary nature; and if they also perceive a shape which distinguishes itself from the other shapes by its elegance, then the soul, uniting these multiple elements, fuses them, comparing them to the indivisible form which she bears within herself, then she pronounces their agreement, kinship and harmony with that interior type. INSTANCES OF CORRESPONDENCE OF OUTER SENSE BEAUTY WITH ITS IDEA. Thus a worthy man, perceiving in a youth the character of virtue, is agreeably impressed, because he observes that the youth harmonizes with the true type of virtue which he bears within himself. Thus also the beauty of color, though simple in form, reduces under its sway that obscurity of matter, by the presence of the light, which is something incorporeal, a reason, and a form. Likewise, fire surpasses all other bodies in beauty, because it stands to all other elements in the relation of a form; it occupies the highest regions;[29] it is the subtlest of bodies because it most approaches the incorporeal beings; without permitting itself to be penetrated by other bodies, it penetrates them all; without itself cooling, it communicates to them its heat; by its own essence it possesses color, and communicates it to others; it shines and coruscates, because it is a form. The body in which it does not dominate, shows but a discolored hue, and ceases being beautiful, merely because it does not participate in the whole form of color. Once more, thus do the hidden harmonies of sound produce audible harmonies, and also yield to the soul the idea of beauty, though showing it in another order of things. Audible harmonies can be expressed in numbers; not indeed in any kind of numbers, but only in such as can serve to produce form, and to make it dominate. TRANSITION FROM SENSE BEAUTY TO INTELLECTUAL BEAUTY.