Third, the perfect use of the medium in the effort to fulfill the artistic purpose of sympathetic representation--the power to delight the senses and create sympathy for the object expressed, on the one hand, and the range of the vision of the object, on the other; the depth and the breadth of the aesthetic experience. With reference to the former we ask: how vividly does the work of art force us to see; how completely does it make us enter into the world it has created; and, in doing this, how poignantly has it charmed us, how close has it united us to itself? The measure of this is partly subjective and irreducible to rules; yet experience in the arts establishes a norm or schema of appreciation through the process of comparison, largely unconscious, by which what we call good taste is acquired. There are certain works of art that seem to have fulfilled this requirement in the highest possible degree, thus attaining to perfection within their compass. Such, for example, are some of Sappho's or Goethe's lyrics, or the Fifth Canto of the _Inferno_. Nothing more perfect, more beautiful of their kind can be conceived. And to see how works of art may differ in degree of perfection of sympathetic vision, one has only to recall lesser works expressing the same themes. Yet we recognize greater works even than those cited--works in which, although the sympathetic vision is no more penetrating and compelling, it is broader, more inclusive. Goethe's _Faust_ is greater than any of his lyrics because the range of experience which it expresses is vaster. A Velasquez is greater than a Peter De Hooch because, in addition to an equal beauty of expression through color and line and composition, an equal dominion over light and space, it contains a marvelous revelation of the inner life, which is absent from the latter. According to Berenson, no one has yet painted the perfect landscape because thus far only a certain few aspects have been expressed, but not all.