Well, this very harmonious excitation of the organism has brought with it just such an organic reverberation as, the current theory of emotion asserts, must be at the bottom of all our emotional states. A certain sequence of nervous shocks and of vasomotor changes, certain stimulations and relations and contractions of the internal organs have been set up as the "diffusive wave" from the sense-stimulations, and a particular emotional tinge is the result. That is a direct impression, but an expression too. Take the same case on a much lower level. A glass of wine makes me cheerful, not because it arouses cheerful ideas directly, but because the organic changes it sets up are such as belong to the MOTIVATED expression of joy, and have the same effect. A deep, slow movement played by an orchestra can affect me in two ways. It may be that I have usually connected that sort of music with religious experiences, and all the profound and inspiring feelings belonging thereto; and so I transfer those feelings to the music and give it those adjectives. Or the slowness of the rhythmic pulse that is set up in me, the largeness, the volume, the depth of sound, all bring about in me the kind of nervous state that belongs to a reposeful and yet deeply moved feeling. The second experience is expression through impression, through the inward changes that the form itself sets up. The first is expression through the medium of something external,--an idea which brings with it a feeling,--something that does not belong to the music itself, but to my own individual experiences. This distinction between internal and external expressiveness is perfectly clear for music, and also for architecture. In painting, too, it can easily be traced. We know the effect that is produced by broken lines, by upward moving ones,--like the "always aspiring" of the Gothic cathedral. The low-lying, wide expanses of some of the old Dutch landscapists give us repose, not because they remind us of the peaceful happiness of the land, but because we cannot melt ourselves into all those horizontal lines without that restful feeling which accompanies such relaxation; and our emotion is read into the picture as AESTHETIC pleasure, because it came out of the abstract forms,--the PAINTING in the picture.