pleasure of the taste, and exercises this sense æsthetically. The æsthetic of all these senses may be called the lower æsthetic, in contradistinction to the higher æsthetic of sight and hearing; but æsthetic activity is throughout its whole range practically identical in nature and in the quality of its pleasure. When I lie in the sun and get warmth, not because I am cold, but for the mere pleasure of the warmth thrills, and when I keep looking at a delicate tint in the evening sky for the mere pleasure of the sensation, I have, as far as my introspection assures me, activities whose method and pleasure tone is identical. Simple sensuous æsthetic is no doubt the beginning of æsthetic activity, but there speedily enters much complication. It often happens that single elements which separately do not excite us æsthetically will produce a marked effect in conjunction, as complementary colours, for instance. Indeed, relation plays so large a place in our æsthetic experience that such principles as variety and contrast, or, on the other hand, unity, order, proportion, and harmony, have been made fundamental to the æsthetic feeling. Æsthetic effect certainly here becomes a complex of two or more reinforcing sensations or perceptions. Where the sensuous elements of a perception are in themselves pleasing we may expect the unison in perception to be doubly pleasing. However, we may also conceive that æsthetic pleasure arises as a reflex of perceptive activity in and for itself as a co-ordinating of impressions. Fechner has made some experiments on what combinations are pleasing; but experiment in this direction is extremely difficult because so few people are willing to speak frankly of their æsthetic feelings, being very sensitive about compromising themselves on matters of taste. There is also the great difficulty of isolation, of making sure that association does not creep in and add unforeseen elements. If Fechner expected to get any judgments of value on such a matter as the golden section rectangle, he should have consulted only trained artists who are used to taking up the æsthetic activity with reference to any material and expressing themselves with freedom. If this rectangle has the æsthetic quality Fechner’s experiments suggest, it seems strange it was not adopted by the symmetry-loving Greeks in their temples, like the Parthenon.