Just as from time to time pleasure in sensation has been one-sidedly thought to be the purpose of art, so likewise the unity characteristic of beautiful things. Indeed, beauty and order have become almost synonymous in popular thought. And, to be sure, this unity, as we have already remarked, has its own value; the mind delights in order just for its own sake, and the artist, who is bent on making something worthful on its own account, strives to develop it for that reason. And yet unity is no more independent of expression and intuition than sensation is; it too enters into their service. Many forms of unity in works of art are themselves media of expression--the simplest and most striking example is perhaps the rhythmical ordering of sounds in poetry and music, the emotional value of which everybody appreciates. In a later chapter, I shall try to show that the same is true of harmony and balance. In another way, also, unity serves intuition. For the existence of order in an experience is indispensable to that wholeness of view, that mastery in the mind, which is half of intuition. The merely various, the chaotic, the disorganized, cannot be grasped or understood. In order that an experience may be understood, its items must be strung together by some principle in terms of which they may demand each other and constitute a whole. Organization _is_ understanding. Every work of art, every beautiful thing, is organized, and, as we have observed, organized not merely in the thought or other meaning expressed, but throughout, in the sensuous medium as well.