The invectives of one school against another, perverse as they are philosophically, are artistically often signs of health, because they indicate a vital appreciation of certain kinds of beauty, a love of them that has grown into a jealous passion. The architects that have pieced out the imperfections of ancient buildings with their own thoughts, like Charles V. when he raised his massive palace beside the Alhambra, may be condemned from a certain point of view. They marred much by their interference; but they showed a splendid confidence in their own intuitions, a proud assertion of their own taste, which is the greatest evidence of aesthetic sincerity. On the contrary, our own gropings, eclecticism, and archaeology are the symptoms of impotence. If we were less learned and less just, we might be more efficient. If our appreciation were less general, it might be more real, and if we trained our imagination into exclusiveness, it might attain to character. _The differentia of aesthetic pleasure: its objectification._ Sec. 10. There is, however, something more in the claim to universality in aesthetic judgments than the desire to generalize our own opinions. There is the expression of a curious but well-known psychological phenomenon, viz., the transformation of an element of sensation into the quality of a thing. If we say that other men should see the beauties we see, it is because _we_ think those beauties _are in the object,_ like its colour, proportion, or size. Our judgment appears to us merely the perception and discovery of an external existence, of the real excellence that is without. But this notion is radically absurd and contradictory. Beauty, as we have seen, is a value; it cannot be conceived as an independent existence which affects our senses and which we consequently perceive. It exists in perception, and cannot exist otherwise. A beautynot perceived is a pleasure not felt, and a contradiction. But modern philosophy has taught us to say the same thing of every element of the perceived world; all are sensations; and their grouping into objects imagined to be permanent and external is the work of certain habits of our intelligence. We should be incapable of surveying or retaining the diffused experiences of life, unless we organized and classified them, and out of the chaos of impressions framed the world of conventional and recognizable objects.