Sight is, therefore, perception _par excellence,_ since we become most easily aware of objects through visual agency and in visual terms. Now, as the values of perception are those we call aesthetic, and there could be no beauty if there was no conception of independent objects, we may expect to find beauty derived mainly from the pleasures of sight. And, in fact, form, which is almost a synonym of beauty, is for us usually something visible: it is a synthesis of the seen. But prior to the effect of form, which arises in the constructive imagination, comes the effect of colour; this is purely sensuous, and no better intrinsically than the effects of any other sense: but being more involved in the perception of objects than are the rest, it becomes more readily an element of beauty. The values of colours differ appreciably and have analogy to the differing values of other sensations. As sweet or pungent smells, as high and low notes, or major and minor chords, differ from each other by virtue of their different stimulation of the senses, so also red differs from green, and green from violet. There is a nervous process for each, and consequently a specific value. This emotional quality has affinity to the emotional quality of other sensations; we need not be surprised that the high rate of vibration which yields a sharp note to the ear should involve somewhat the same feeling that is produced by the high rate of vibration which, to the eye, yields a violet colour. These affinities escape many minds; but it is conceivable that the sense of them should be improved by accident or training. There are certain effects of colour which give all men pleasure, and others which jar, almost like a musical discord. A more general development of this sensibility would make possible a new abstract art, an art that should deal with colours as music does with sound.