IN dealing with familiarity as a multiplying factor of aesthetic appreciation, I have laid stress on its effect in facilitating the perception and the empathic interpretation of shapes. But repetition directly affects the emotion which may result from these processes; and when any emotion has become habitual, it tends to be stored in what we call memory, and to be called forth not merely by the processes in which it originated, but also independently of the whole of them, or in answer to some common or equivalent factor. We are so accustomed to this psychological fact that we do not usually seem to recognise its existence. It is the explanation of the power of words, which, apart from any images they awaken, are often irresistibly evocative of emotion. And among other emotions words can evoke the one due to the easy perception and to the life-corroborating empathic interpretation of shapes. The word _Beautiful,_ and its various quasi synonyms, are among the most emotionally suggestive in our vocabulary, carrying perhaps a vague but potent remembrance of our own bodily reaction to the emotion of admiration; nay even eliciting an incipient rehearsal of the half-parted lips and slightly thrown-back head, the drawn-in breath and wide-opened eyes, with which we are wont to meet opportunities of aesthetic satisfaction. Be this last as it may, it is certain that the emotion connected with the word _Beautiful_ can be evoked by that word alone, and without an accompanying act of visual or auditive perception. Indeed beautiful shapes would lose much of their importance in our life, if they did not leave behind them such emotional traces, capable of revival under emotionally appropriate, though outwardly very dissimilar, circumstances; and thereby enormously increasing some of our safest, perhaps because our most purely subjective, happiness. Instead therefore of despising the raptures which the presence of a Venus of Milo or a Sixtine Madonna can inspire in people manifestly incapable of appreciating a masterpiece, and sometimes barely glancing at it, we critical persons ought to recognise in this funny, but consoling, phenomenon an additional proof of the power of Beauty, whose specific emotion can thus be evoked by a mere name and so transferred from some past experience of aesthetic admiration to a. present occasion which would otherwise be mere void and disappointment.