The people who base a skeptical opinion upon the historical changes in taste forget that taste is necessarily a growth; that it is developed by trial and error, through and despite the following of many false paths. Only if the standard were something delivered to men by divine revelation--as indeed the old dogmatists came very close to believing-- would it be strange and inconsistent for changes to occur. But if, as is the fact, the standard is experimental and representative of actual artistic purposes, then change is normal. Moreover, the standard is not single and absolute, but plural and relative. Growth in taste means not only development along a given line, within a given form, but enlargement through the origination of new forms and beauties. It is not like the straight line growth of an animal, but rather radial, like the growth of a plant, sending out branches in every direction. An art may attain to perfection in a certain genre, and then continue only through the creation of new types. Thus sculpture and architecture reached a kind of perfection in the classic, beyond which it was impossible to go--the only possible development lay in the creation of new types. If it is true, then, that the existence of standards has a sound basis in the aesthetic experience, how can their apparent failure to work and secure unanimity of judgment be explained? How account for the actual chaos of judgment? Partly, at least, because many judgments passed on works of art are not aesthetic judgments at all. These must be eliminated if any consensus is to be won. We may call these judgments "pseudo- sthetic" judgments. They fall naturally into several classes, which it will be worth while to describe.