Beauty is not limited to one class of object or experience and excluded from another. A chair may be beautiful, although turned to common use; a picture is not beautiful necessarily because it is a picture. "Nothing out of its place is good, nothing in its place is bad," says Whitman, Whistler speaks of art as "seeking and finding the beautiful in all conditions and in all times, as did her high priest, Rembrandt, when he saw picturesque grandeur and noble dignity in the Jews' quarter of Amsterdam, and lamented not that its inhabitants were not Greeks." The beautiful must exhibit an integrity of relations within itself, and it must be in integral relation with its surroundings. The standard of beauty varies with every age, with every nation, indeed with every individual. As beauty is not in the object itself, but is in the mind which integrates the relations which the object manifests, so our appreciation of beauty is determined by our individuality. And individuality is the resultant of many forces. The self, inexplicable in essence, is the product of inheritance, and is modified by environment and training. More than we realize, our judgment is qualified by tradition and habit and even fashion. Because men have been familiar for so many centuries with the idea that sculpture should find its vehicle in white marble, the knowledge that Greek marbles originally were painted comes with something of a shock; and for the moment they have difficulty in persuading themselves that a Parthenon frieze _colored_ could possibly be beautiful. Until within comparatively recent years the French have regarded Shakespeare as a barbarian. The heroic couplet, which was the last word in poetical expression in the age of Queen Anne, we consider to-day as little more than a mechanical jingle. Last year's fashions in dress, which seemed at the time to have their merits, are this year amusingly grotesque. In our judgment of beauty, therefore, allowance must be made for standards which merely are imposed upon us from without. It is necessary to distinguish between a formula and the reality. As far as possible we should seek to come into "original relation" with the universe, freshly for ourselves. So we must return upon our individual consciousness, and thus determine what is vitally significant to us. For the man who would appreciate beauty, it is not a question between this or that "school" in art, whether the truth lies with the classicists or the romanticists; it is not a question of this or that subject or method to the exclusion of all others. Beauty may be anywhere or everywhere. It is our task and joy to find it, wherever it may be. And we shall find it, if we are able to recognize it and we hold ourselves responsive to its multitudinous appeal.