But when we come to interpret the psychoses of the lower animals in connection with sexuality we may still more easily slip into a doubtful automorphism. Thus to say with Darwin, “When we behold a male bird elaborately displaying ... before the female, ... it is impossible to doubt that she admires the beauty of her male partner” (_Descent of Man_, p. 92), or more strongly still with Grant Allen, “Every crow must think its own mate _beautiful_” (_Mind_, v. 448), we too easily take for granted that these birds would feel like ourselves in corresponding circumstances. We can find a more simple explanation. That crows often maltreat those who are off colour, _e.g._, white, plainly does not require us to suppose that they regard white as ugly, black as beautiful, any more than we should judge that students in some Society who wear a black badge would be æsthetically moved when they look with disfavour upon students who may wear a white badge. Animals are clannish, and as a rule, suffer none but those who have the customary marks to associate with them, and especially to propagate. Hence when the peacock displays himself to his mate he simply shows to her that he has most conspicuously the proper marks, and she sees that he is the proper mate. These are signs of a tempting mate, just as here is tempting food, a very red ripe berry, but the coloration no more in the one case than the other awakens feeling for beauty. The hen bird probably appreciates a red feather as a red berry merely as being signs of the completely satisfying. Sexual selection, like nutriment selection, is a discrimination according to certain characters as prompted by appetite. The expanded and vari-coloured tail of a peacock is then a mere sexual characteristic which does not imply feeling for beauty in its appreciation as significant of sex. A small foot, long hair, and other sexual characters in woman, which are attractive to men, in like manner arouse emotion which is far from æsthetic. We may take a perfectly unsexual æsthetic pleasure in long raven tresses just as we do in an ebony table, but this is obviously rather late achievement. In fact are not æsthetic and sexual feelings mutually exclusive? So far as nude art is “suggestive,” so far is the feeling of its beauty lost, hence sculpture is not tinted. And so in the presence of the nude model the artist can have merely æsthetic emotion, whereas his visitor is apt to have emotions of another sort. We do, indeed, say that the lover dwells upon his mistress’ “beauties,” but beauties here mean attractions, and to the devoted lover all parts are attractive, even moles and freckles which to the æsthetic eye are ugly.