For a school imitation, or a forgery, must possess enough elements in common with a masterpiece, otherwise it could never suggest any connexion with it. Given a favourable emotional attitude and the absence of obvious _extrinsic_ (technical or historical) reasons for scepticism, these elements of resemblance must awaken the vague idea, especially the empathic scheme, of the particular master's work, and his name--shall we say Leonardo's?--will rise to the lips. But _Leonardo_ is a name to conjure with, and in this case to destroy the conjurer himself: the word _Leonardo_ implies an emotion, distilled from a number of highly prized and purposely repeated experiences, kept to gather strength in respectful isolation, and further heightened by a thrill of initiate veneration whenever it is mentioned. This _Leonardo-emotion,_ once set on foot, checks all unworthy doubts, sweeps out of consciousness all thoughts of inferior work (_inferiority_ and _Leonardo_ being emotionally incompatible!), respectfully holds the candle while the elements common to the imitation and the masterpiece are gone over and over, and the differentiating elements exclusively belonging to Leonardo evoked in the expert's memory, until at last the objective work of art comes to be embedded in recollected masterpieces which impart to it their emotionally communicable virtue. And when the poor expert is finally overwhelmed with ridicule, the Philistine shrewdly decides that a sham Leonardo is just as good as a genuine one, that these are all matters of fashion, and that there is really no disputing of tastes! CHAPTER XX AESTHETIC IRRADIATION AND PURIFICATION