What, then, the author of "The Sense of Beauty" calls "the beauty of the second term,"--the power to suggest feeling through the medium of associated ideas,--we may deny to impart any aesthetic character whatever. Professor Santayana has, indeed, mediated between the formalists and the idealists; but his theory would lead us to attributions of beauty from which common sense revolts; and we have seen the secret of its deficiency to lie in the confusion of the personal with the aesthetic attitude. If now we amend his definition, "Beauty is objectified pleasure," to "Beauty is objectified aesthetic pleasure," we are advanced no further. III The problem stands, then: how to provide for the presence of ideas in the work of art, and the definite emotions aroused by it, either by bringing them somehow into the definition of beauty in itself, or by showing how their presence is related to the full aesthetic experience. But, first of all, we have to ask how the aesthetic pleasure even in formal beauty is constituted, and to what extent expression belongs to the beauty of pure form. Form is impressive, or directly beautiful, through its harmony with the conditions offered by our senses, primarily of sight and hearing, and through the harmony of its combinations of suggestions and impulses with the entire organism. I enjoy a well-composed picture like Titian's "Sacred and Profane Love," because the good composition means such a balanced relation of impulses of attention, of incipient movements, as harmonizes with such an organism as mine, tending to move toward both sides, and yet unified and stable; and because the combination of colors is at once stimulating and soothing to my eyes. So much for IMPRESSION, beauty of the first term. But it is not only that harmonious state of my visual and motor functions that I get out of the form of a picture. No, I have, besides all this pleasure, a real exhilaration or emotion, a definite mood of repose or gayety or triumph, without any fringe of association, which yet certainly contributes to my feeling of the beauty of the experience, and so of the work of art. How did it come out of the form?