When it has been proved that the rules governing the artistic adjustment of reality, which have been stated and vindicated on the basis of intellectualistic theories, may be equally well deduced from an emotionalistic interpretation, the argument can easily be extended so as to cover the principles governing the selection of subjects and motives for artistic representation. It is required in the Hegelian æsthetic that every single phenomenon which is represented in a work of art should suggest the presence of a greater and more universal idea.[161] In Goethe’s theory of style in art we meet with the same claim—which is closely connected with his general philosophy of nature—that every individual form or movement should have something to tell us about the world-process.[162] And when Taine tries to lay down a scale of gradation for the relative value of works of art, he assigns the highest place to those works in which the qualities exhibited are, firstly, as remarkable and essential as possible, and in which, secondly, these remarkable and essential qualities have been made as predominant as possible.[163] It can easily be seen that the reasoning which is here applied to the choice between different things is exactly the same which was used with regard to the different features of the same thing; and the psychological interpretation is, therefore, also the same in both cases. As the craving for the fullest and most adequate expression of an emotional state influences the artist in his representation of a given fragment of nature or life, so this craving must also influence his selection of the model to be represented. Owing to variations in temperament and æsthetic predilections the relative significance of these two aspects may be differently estimated in different art-schools. But the main principle cannot be invalidated by the fact that, for example, in French art and French æsthetic the definiteness is emphasised at the cost, perhaps, of richness, while in English art suggestiveness is often allowed to make up for lack of concentration.[164] A catholic theory must necessarily account for all the varying æsthetic ideals which have influenced artistic production. Although it must be considered as essentially non-æsthetic to contend, as Mr. Ruskin did at one time, that “that art is greatest which conveys to the mind of the spectator by any means whatsoever the greatest number of the greatest ideas,”[165] it must, on the other hand, be admitted that an individual thing is adequate as a means of conveying the fulness of feeling only if through this individual thing there can be suggested a multitude of other things recalled and represented.