Music, however, possesses a second property, and this new element gives it a peculiar quality and no ordinary scope. Besides its mathematical qualities, sound is analogous to the cry, and by this title it directly expresses with unrivalled precision, delicacy and force, suffering, joy, rage, indignation--all the agitations and emotions of an animated sensitive being, even to the most secret and most subtle gradations. From this point of view it is similar to poetic declamation, furnishing a specific type of music, called the music of expression, like that of Gluck and the Germans, in opposition to the music of melody, that of Rossini and the Italians. Let the composer's point of view be what it may, the two styles of music are nevertheless related to each other, sounds always forming aggregates of parts linked together at once by their mathematical relationship and by the correspondence which they have with the passions and the various internal states of the moral being. The musician, therefore, who conceives a certain salient, important feature of things, let it be sadness or joy, tender love or passionate rage, any idea or sentiment whatever, may freely select and combine in such a way in these mathematical and moral relationships as to manifest the character which he has conceived. All the arts are thus included in the definition above presented. In architecture and music, as in sculpture, painting, and poetry, it is the object of a work of art to manifest some essential character, and to employ as means of expression an aggregate of connected parts, the relationship of which the artist combines and modifies. VII. Now that we know the nature of art, we can comprehend its importance. Previously we were only sensible of its effect; it was a matter of instinct, and not of reason: we were conscious of respecting and esteeming art, but were not qualified to account for our respect and esteem. Our admiration for art can now be justified, and we can mark its place in the order of life.