Widely different from annual exhibitions, too, are galleries and museums; for here the proportion of really good things is immeasurably larger. In the study of masterpieces, it need hardly be said, the amateur may exercise judgment and moderation. He should not try to do too much at one time, for he can truly appreciate only as he enters fully into the spirit of the work and allows it to possess him. To achieve this sympathy and understanding within the same hour for more than a very few great works is manifestly impossible. Such appreciation involves fundamentally a quick sensitiveness to the appeal and the variously expressive power of color and line and form. To win from the picture its fullest meaning, the observer may bring to bear some knowledge of the artist who produced it and of the age and conditions in which he lived. But in the end he must surrender himself to the work of art, bringing to it his intellectual equipment, his store of sensuous and emotional experience, his entire power of being moved. For when all is said, there is no single invariable standard by which to try a work of art: its significance to the appreciator rests upon his capacity at the moment to receive it. "A jest's prosperity lies in the ear of him that hears it." The appreciator need simply ask himself, "What has this work to reveal to me of beauty that I have not perceived for myself? I shall not look for the pretty and the agreeable. But what of new significance, energy, life, has this work to express to me? I will accept no man entirely and unquestioningly, I will condemn no one unheard. No man has the whole truth; every man has some measure of the truth, however small. Let it be my task to find it and to separate it from what is unessential and false. In my search for what is true, I will conserve my integrity and maintain my independence. And I shall recognize my own wherever I may find it."