The work of art has been the subject of theoretical investigation to a far greater extent than the artistic impulse. When examining its distinctive qualities we can therefore constantly avail ourselves of the researches of earlier writers on æsthetic. There is no need to search for the problems to be solved nor to justify the scheme of inquiry. We have to show that our interpretation of the artistic activity is consistent with the general principles according to which the value of art-works is estimated. These principles, on the other hand, can evidently be discovered only by studying the judgments on art which have been embodied in æsthetical literature. Owing to the mutual contradictions between the several æsthetic systems, such a study is indeed not an easy one. But if minor differences are disregarded it is not impossible to find a common standard on which almost all writers agree. For while the theories on art, as different from other departments of life, have been based upon varying philosophical assumptions, the ideal of excellence in art has, at least in the case of all real æstheticians, been developed under the influence of a close familiarity with the best manifestations of living art. Notwithstanding the ever-varying currents of taste and the individual predilections which affect even the most impartial judgment, it is thus possible to point to a common fund of simple and catholic principles of criticism. As far as the lyrical forms of art are concerned we need not dwell at any length on the æsthetic requirements which they are generally expected to fulfil. It is easy to understand that, however one may explain the purpose of artistic activity and the impulse which leads to it, the accomplished work of art must always possess some element of sensual beauty which may attract and hold the attention. If we were attempting a complete treatment of all æsthetic problems we might attempt to prove that such qualities appear to a very great extent as unintentional by-products of artistic expression. The perfect gracefulness, for example, which forms the distinguishing merit of all genuine art, is seldom a result of conscious endeavour. As, according to its nature, pleasure is necessarily accompanied by facilitated conditions of life, an artistic manifestation will generally be graceful in the same degree as it expresses pure and unmingled joy. And even if the feeling which originally called forth a dance, a song, or a drama is one of pain, its expression will unavoidably acquire under the influence of artistic form an element of ease. The freedom, and, still more, the unconsciousness, that characterise the “inspired” creation may thus clothe with a peculiar grace even the representation of such mental states as in real life manifest themselves in the most inharmonious forms.[153] In the same way dignity, the quality complementary to grace, may be deduced directly from the emotional conditions of artistic activity.