We have implied throughout—and common introspection approves this—that æsthetic pleasure and emotion is a distinct psychosis which somehow arises with reference to objects. It is not some previous psychosis as modified by association, habit, economy, play-impulse, or sexuality; but it is a _sui generis_ mode which develops on the basis of a past evolution. The simplest and earliest æsthetic mode is plainly the sensuous. Very commonly when looking on the delicate solid-tinted glow of early dawn I have æsthetic pleasure, my eye dwells on it with pleasure and drinks in the pleasant light. It is obvious here that the sensing activity is carried on, not to discriminate food or mate nor yet as mere vent to energy; but the sensing here acts for the pleasure in the activity itself. How and why mere cognitive act, which originates as guide to life, acquires a direct pleasure value and so is carried on apart from the ends of life, and initiates an æsthetic world of its own, cannot on the face of it be explained by natural selection; it is entirely apart from this order of things. But we know that sensing often carries pleasure with it as significant of life value, thus the thing tasting good was originally the good thing to eat, digest and assimilate; so also for smell, etc. But under natural selection this pleasure sanction and index was never cultivated for its own sake. Now is there any real difference in the pleasure in, for instance, smelling, for the pure pleasure of smelling, as a perfume of fresh apples, and the pleasure from smelling the apples as detecting them when you are hungry? “How pleasant those apples smell! I do not care to eat them, but I just enjoy smelling them”; is the pleasure thus indicated the same in quality with that of the man who says, “Those apples smell so nice I would like to try one”? Again, if hungry, we say, “The bread tastes so _good_,” but we notice this pleasantness rapidly decreases as appetite is satisfied. However, if there be fresh grass butter, you may continue to eat long after appetite is satisfied, for the pure pleasure of the taste. Obviously, the latter pleasure is not a mere continuance of the former. Relish and taste pleasure seem distinct. Again, a red apple is a pleasant sight to a hungry man and to an artist in different ways. If our pleasure in looking at a picture of an apple is such that the mouth waters, we know at once that the pleasure is unæsthetic. He who is very fond of apples, and to whom they are always a pleasant sight, is so far barred from æsthetic pleasure in them; while he who has no appreciation of their edibility is thereby prepared for æsthetically sensing them. So also sour grapes are as pretty as sweet. The colour sense began as discriminative of foods, and hence red became pleasurably known, but æsthetic appreciation is certainly much later and quite diverse. If it be asked how and when did red, already noticeable, become