glass which changed the pale blue, pale lilac and faded russet into emerald green and blood red. He would have exclaimed at the loss of those exquisite colours when you showed him the monochrome, and perhaps have sworn that all his pleasure was spoilt when you forced him to look through that atrocious glass. But he would have identified the aspect as the one he had seen before; just as even the least musical person would identify "God save the King" whether played with three sharps on the flute or with four flats on the trombone. There is therefore in an _Aspect_ something over and above the quality of the colours (or in a piece of music, of the sounds) in which that aspect is, at any particular moment, embodied for your senses; something which can be detached from the particular colours or sounds and re-embodied in other colours or sounds, existing meanwhile in a curious potential schematic condition in our memory. That something is _Shape._ It is Shape which we contemplate; and it is only because they enter into shapes that colours and sounds, as distinguished from temperatures, textures, tastes and smells, can be said to be contemplated at all. Indeed if we apply to single isolated colour or sound-qualities (that blue or russet, or the mere timbre of a voice or an orchestra) the adjective _beautiful_ while we express our liking for smells, tastes, temperatures and textures merely by the adjectives _agreeable, delicious_; this difference in our speech is doubtless due to the fact that colours or sounds are more often than not connected each with other colours or other sounds into a Shape and thereby become subject to contemplation more frequently than temperatures, textures, smells and tastes which cannot themselves be grouped into shapes, and are therefore objects of contemplation only when associated with colours and sounds, as for instance, the smell of burning weeds in a description of autumnal sights, or the cool wetness of a grotto in the perception of its darkness and its murmur of waters.