In the type of painting corresponding to the first way of seeing, objects are represented more as we think them to be, or as we should find them on further exploration, than as they actually appear to sight at any given moment; the outlines are clear and sharp and detail is emphasized. This mode of painting is most in place for interiors where there is an even distribution and no striking effects of light and shade, as in so many genre pictures of the Dutch school; but above all when the human significance of objects or their dramatic relations, which depend upon their being taken as separate things, is to be expressed. For example, to get the expression of the action of a woman pouring water into a jug, it is necessary that we feel the shape and color of the latter as aspects of a tangible reality having a distinct purpose, that of holding water; and this purposefulness makes of the object a separate, individual thing. Yet a too great distinction of objects and a too great elaboration of detail, as in Meissonier and the English Pre-Raphaelites, is inartistic; the picture breaks up into separate parts and all feeling of unity is lost. In the work of the Flemish and Dutch, on the contrary, we take delight in the perspicuity of things without losing the sense of wholeness; for there is a sameness and simplicity of color tone which unites them. A genuine and unique sthetic value is possessed by such work,--that of clear intuition of the visual detail and human significance of things.