From what we have already established, we know how this requirement can be met: by elaborating the outer aspects of the object in the direction of pleasure and expression. By this means the beauty of mere appearance will strike and occupy the mind, inducing the aesthetic attitude towards the outside, from which it may then spread and embrace the inner, purposive meaning. The obviously disinterested and warmly emotional admiration of the shape will prevent the admiration for the purposive adaptation from being cold and abstract. Hence, although from the point of view of utility the beauty of mere appearance may seem to be a superfluity, it is almost indispensable from an aesthetic point of view, since it raises the appreciation of the purpose to the aesthetic plane. And we can understand how enthusiastic workmen, whose admiration for their work is already aesthetic, must necessarily desire to consecrate and communicate this feeling by beautifying the appearance of their products; how inevitably, through the ages, they have made things not only as perfect as they could, but as charming. When developed for the ends of the aesthetic life, the useful object exhibits, therefore, two levels of beauty: first, that of appearance, of form and sensation, line and shape and color; and second, that of purpose spoken in the form. The first is of the vague and immediate character so well known to us; the second is more definite and less direct, since it depends upon the interpretation of the object in terms of its function. The relation between the two is like that which obtains, in a painting, between color and line, on the one hand, and representation, on the other. When the first level of beauty is richly developed on its own account, it becomes ornament. In a Greek vase, for example, there is a beauty of symmetrical, well-proportioned shape, delicate coloring of surface, and decorative painting, which might be felt by people who knew nothing of its use; and, in addition, for those who have this knowledge, a beauty in the fine balance of parts in the adjustment of clay to its final cause. These factors, which we have distinguished by analysis, should, however, be felt as one in the aesthetic intuition of the object; the form, although beautiful in itself, should reveal the function, and the decoration, no matter how charming, should be appropriate and subordinate. Otherwise, as indeed so often happens, the beauty of one aspect may completely dominate the others; when the object either remains a pretty ornament perhaps, but is functionally dead; or else, if it keep this life, loses its unity in a rivalry of beautiful aspects.