Nevertheless, despite this compromise, the purpose of art is uncompromisingly attained. For art does not seek to give us nature over again, but to express its feeling tones, and these are conveyed when we get an idea of the corresponding object, even if that idea is inadequate from a strictly scientific point of view. We do not react emotionally to the infinite detail of any object, but only to its presence as a whole and to certain salient features. The artist succeeds when he constructs a humanized image of the object--one which arouses and becomes a center for feeling. This image, when made of a few elements, may be far more telling than a much more accurate copy; for there is no diffusion of interest to irrelevant aspects. How effective a medium for expression are the few and simple lines of Beardsley's draftsmanship! The amount of detail necessary to convey an emotionally effective idea is relative to the technique of the different arts and varies also with the suggestibility and discrimination of the observer. Here no a priori principles can be laid down for what only the experimental practice of the artist can determine. Moreover, the negative suggestions of a work of art, although they are effective in preventing entire belief in the reality of the idea expressed, do not hinder the communication and appreciation of the attached feelings. Just so long as the belief attitude is not wholly extinguished, this is the case; and the skillful artist takes care of that. Of course, an attitude of self-surrender, of willingness to accept suggestions, has to be present and we cooperate with the artist in creating it. Aesthetic belief implies sufficient abandon that we may react emotionally to a suggestion, but not enough that we may react practically. We let the idea tell upon our feelings; we do not let it incite us to action. The aesthetic plausibility of an idea depends largely upon its initial plausibility with the artist. There is nothing more contagious than belief. To utter things with an accent of conviction is half the battle in getting oneself believed. If the artist pretends to believe something and expresses himself with an air of assurance, we accept it, no matter how preposterous it may be from the practical or scientific point of view. Think of Rabelais!