This effect of artistic expression upon experience has usually been called "intuition." Because of its connotation of mysterious knowledge, intuition is not a wholly satisfactory word, yet is probably as good as any for the purpose of denoting what artists and philosophers of art have had in mind and what we have been trying to describe. Other terms might also serve--vision, sympathetic insight (sympathetic, because it includes the value of experience; insight, because it involves possessing experience as a whole and ordered, and as an object for reflection). Intuition is opposed, on the one hand, to crude unreflecting experience that never observes itself as a whole or attains to clearness and self-possession; and, on the other hand, to science, which gives the elements and relations of an experience, the classes to which it belongs, but loses its uniqueness and its values. Science elaborates concepts of things, gives us knowledge about things; art presents us with the experience of things purified for contemplation. Scientific truth is the fidelity of a description to the external objects of experience; artistic truth is sympathetic vision--the organization into clearness of experience itself. Compare, for illustration, life as we live it from day to day with our delineation of it as we recall it and tell it to an intimate companion; and then compare that with the analysis and classification of it which some psychologist or sociologist might make. Or compare the kind of knowledge of human nature that we get from Shakespeare or Moliere with the sort that we get from the sciences. In the one case, knowledge attends a personal acquaintance with the experience, a bringing of it home, a feeling for its values, a realization of the inner necessity of its elements; in the other, it is a mere set of concepts. Or finally, compare the knowledge of the human figure contained in an anatomist's manual with a painting of it, where we not only see it, but in the imagination touch it and move with it, in short live with it.