Since it is our purpose to develop an adequate idea of art, it might seem as if a definition were rather our goal than our starting point; yet we must identify the field of our investigations and mark it off from other regions; and this we can do only by means of a preliminary definition, which the rest of our study may then enrich and complete. We shall find it fruitful to begin with the definition recently revived by Croce: [Footnote: Benedetto Croce: _Estetica_, translated into English by Douglas Ainslie, under title _Aesthetic_, chap. i.] art is expression; and expression we may describe, for our own ends, as the putting forth of purpose, feeling, or thought into a sensuous medium, where they can be experienced again by the one who expresses himself and communicated to others. Thus, in this sense, a lyric poem is an expression--a bit of a poet's intimate experience put into words; epic and dramatic poetry are expressions--visions of a larger life made manifest in the same medium. Pictures and statues are also expressions; for they are embodiments in color and space-forms of the artists' ideas of visible nature and man. Works of architecture and the other industrial arts are embodiments of purpose and the well-being that comes from purpose fulfilled. This definition, good so far as it goes, is, however, too inclusive; for plainly, although every work of art is an expression, not every expression is a work of art. Automatic expressions, instinctive overflowings of emotion into motor channels, like the cry of pain or the shout of joy, are not aesthetic. Practical expressions also, all such as are only means or instruments for the realization of ulterior purposes--the command of the officer, the conversation of the market place, a saw--are not aesthetic. Works of art--the _Ninth Symphony_, the _Ode to the West Wind_--are not of this character.