The above is a series of illustrations of the fact that aesthetic pleasure depends as much on the activities of the beholder as on those of the artist. Unfamiliarity or over-familiarity explain a large part of the aesthetic non-responsiveness summed up in the saying _that there is no disputing of tastes._ And even within the circle of habitual responsiveness to some particular style, or master, there are, as we have just seen, days and hours when an individual beholder's perception and empathic imagination do not act in such manner as to afford the usual pleasure. But these occasional, even frequent, lapses must not diminish our belief either in the power of art or in the deeply organised and inevitable nature of aesthetic preference as a whole. What the knowledge of such fluctuations ought to bring home is that beauty of shape is most spontaneously and completely appreciated when the attention, instead of being called upon, as in galleries and concerts, for the mere purpose of aesthetic enjoyment, is on the contrary, directed to the artistic or "natural" beauty of shapes, in consequence of some other already existing interest. No one except an art-critic sees a new picture or statue without first asking "What does it represent?"; shape-perception and aesthetic empathy arising incidentally in the examination which this question leads to. The truth is that even the art-critic is oftenest brought into enforced contemplation of the artistic shape by some other question which arises from his particular bias: By whom? of what precise date? Even such technical questions as "where and when restored or repainted?" will elicit the necessary output of attention. It is possible and legitimate to be interested in a work of art for a dozen reasons besides aesthetic appreciation; each of these interests has its own sentimental, scientific, dramatic or even moneymaking emotion; and there is no loss for art, but rather a gain, if we fall back upon one of them when the specific aesthetic response is slow or not forthcoming. Art has other aims besides aesthetic satisfaction; and aesthetic satisfaction will not come any the quicker for turning our backs upon these non-aesthetic aims. The very worst attitude towards art is that of the holiday-maker who comes into its presence with no ulterior interest or business, and nothing but the hope of an aesthetic emotion which is most often denied him. Indeed such seeking of aesthetic pleasure for its own sake would lead to even more of the blank despondency characteristic of so many gallery goers, were it not for another peculiarity of aesthetic responsiveness, which is responsible for very puzzling effects. This saving grace of the tourist, and (as we shall see) this pitfall of the art-expert, is what I propose to call the _Transferability of Aesthetic Emotion._ CHAPTER XIX THE STORAGE AND TRANSFER OF EMOTION