because the enjoyment of beauty is disinterested. The detachment involved in appreciation is a detachment from material. The appreciator may seem to be a looker-on at life, in that he does not act but simply feels. But his spirit is correspondingly alert. In the measure that he is released from servitude to material he gives free play to his emotion. Although beauty is founded upon design, design is not the whole of beauty. Not all objects which exhibit equal integrity of design are equally beautiful. The beauty of a work of art is determined by the degree of emotion which impelled its creation and by the degree in which the work itself is able to communicate the emotion immediately. The feeling which entered into the making of the first lock and key was simply the inventor's desire for such a device, his desire being the feeling which accompanied his consciousness of his need. At the other extreme is the emotion such as attended Michelangelo's vision of his "David" and urged his hand as he set his chisel to the unshaped waiting block. And so all the way between. Many pictures are executed in a wholly mechanical spirit, as so much manufacture; and they exhibit correspondingly little beauty. Many useful things, as a candle-stick, a pair of andirons, a chair, are wrought in the spirit of art; into them goes something of the maker's joy in his work; they become the expression of his emotion: and they are so far beautiful. It is asserted that Millet's "Angelus" is a greater picture than the painting entitled "War" by Franz Stuck, because "the idea of peasants telling their beads is more beautiful than the idea of a ruthless destroyer only in so far as it is morally higher." The moral value as such has very little to do with it. It is a question of emotion. If Stuck were to put on canvas his idea of peasants at prayer and if Millet had phrased in pictorial terms his feeling about war, there is little doubt that Millet's painting would be the more telling and beautiful. The degree of beauty is fixed by the depth of the man's insight into life and the corresponding intensity of his emotion.