whole in question is or is not truly good, and does not depend upon the question whether it would or would not excite particular feelings in particular persons. This definition has the double recommendation that it accounts both for the apparent connection between goodness and beauty and for the no less apparent difference between these two conceptions. It appears, at first sight, to be a strange coincidence, that there should be two _different_ objective predicates of value, ‘good’ and ‘beautiful,’ which are nevertheless so related to one another that whatever is beautiful is also good. But, if our definition be correct, the strangeness disappears; since it leaves only one _unanalysable_ predicate of value, namely ‘good,’ while ‘beautiful,’ though not identical with, is to be defined by reference to this, being thus, at the same time, different from and necessarily connected with it. In short, on this view, to say that a thing is beautiful is to say, not indeed that it is _itself_ good, but that it is a necessary element in something which is: to prove that a thing is truly beautiful is to prove that a whole, to which it bears a particular relation as a part, is truly good. And in this way we should explain the immense predominance, among objects commonly considered beautiful, of _material_ objects--objects of the external senses; since these objects, though themselves having, as has been said, little or no intrinsic value, are yet essential constituents in the largest group of wholes which have intrinsic value. These wholes themselves may be, and are, also beautiful; but the comparative rarity, with which we regard them as themselves _objects_ of contemplation, seems sufficient to explain the association of beauty with external objects.