a well-loved person may be a free and glowing experience, sharing with sight in beauty. The movement sensations during a run in the open air or in dancing are not only free from all practical purpose, but are elements in the total animation. And other examples will come to the mind of every reader. [Footnote: Compare Volkelt: _System der Aesthetik_, Bd. I, Zweites Capitel, S. 92.] As our illustrations show, the lower senses enter into the beauty of nature only; they do not enter into the beauty of art. Their beauty is therefore vague and accidental. It usually depends, moreover, upon some support from vision, with the beauty of which it fuses. Apart from the picturesque surroundings seen, the mountain milk and the Rhine wine would lose much of their beauty; the warmth of sunlight or of fire, without the brightness of these objects, the odor of flowers without their form and color, would be of small aesthetic worth. Through connection with vision the lower senses acquire something of its permanence and independence. People differ greatly in their capacity to render the lower senses aesthetic; it is essentially a matter of refinement, of power to free them from their natural root in the practical and instinctive, and lift them into the higher region of sentiment. But every kind of sensation, however low, may become beautiful; this is not to degrade beauty, but to ennoble sensation. From a psychological standpoint, sensation is the datum of the aesthetic experience, the first thing there, while its power to express depends upon a further process which links it up with thoughts and feelings. We must inquire, therefore, how this linkage takes place--how, for example, it comes about that the colors of a painting are something more than mere colors, being, in addition, embodiments of trees and sky and foliage, and of liveliness and gayety and other feelings appropriate to a spring landscape. Let us consider the linkage with feeling first.