the moment of experience; but this is something of what is felt. The discovery of such a harmony is the entrance into fuller living. So it is that the boundaries of beauty enlarge with the expansion of the individual spirit. To extend the boundaries of beauty by the revelation of new harmonies is the function of art. With the ordinary man, the plane of feeling, which is the basis of appreciation, is below the plane of his attention as he moves through life from day to day. As a clock may be ticking in the room quite unheeded, and then suddenly we hear it because our attention is called to it; so only that emotion really counts to us as experience which comes to our cognizance. When once the ordinary man is made aware of the underlying plane of feeling, the whole realm of appreciation is opened to him by his recognition of the possibilities of beauty which life may hold. Consciously to recognize that forces are operating which lie behind the surface aspect of things is to open ourselves to the play of these forces. With persons in whom intellect is dominant and the controlling power, the primary need is to understand; and for such, first to know is to be helped finally to feel. To comprehend that there is a soul in every fact and that within material objects reside meanings for the spirit, or beauty, is to be made more sensitive to their influence. With the artist, however, the case is different. At the moment of creation he is little conscious of the purport of the work to which he sets his hand. He is not concerned, as we have been, with the "why" of beauty; from the concrete directly to the concrete is his progress. Life comes to him not as thought but as emotion. He is moved by actual immediate contact with the world about him,--by the sight of a landscape, by the mood of an hour or place, by the power of some personality; it may be, too, a welter of recollected sensations and impressions that plays upon his spirit. The resultant emotion, not reasoned about but nevertheless directed to a definite end, takes shape in external concrete forms which are works of art. Just because he is so quick to feel the emotional value of life he is an artist; and much of his power as an artist derives from the concreteness of his emotion. The artist is the creative mind, creative in this sense, that in the outward shows of things he feels their inward and true relations, and by new combinations of material elements he reembodies his feeling in forms whose message is addressed to the spirit. The reason why Millet painted the "Sower" was that he felt the beauty of this peasant figure interpreted as significance and life. And it is this significance and life, in which we are made to share, that his picture is designed to express.