We have not studied these effects, however, with enough attention, we have not allowed them to penetrate enough into the soul, to think them very significant. The stimulation of fireworks, or of kaleidoscopic effects, seems to us trivial. But everything which has a varied content has a potentiality of form and also of meaning. The form will be enjoyed as soon as attention accustoms us to discriminate and recognize its variations; and meaning will accrue to it, when the various emotional values of these forms ally the new object to all other experiences which involve similar emotions, and thus give it a sympathetic environment in the mind. The colours of the sunset have a brilliancy that attracts attention, and a softness and illusiveness that enchant the eye; while the many associations of the evening and of heaven gather about this kindred charm and deepen it. Thus the most sensuous of beauties can be full of sentimental suggestion. In stained glass, also, we have an example of masses of colour made to exert their powerful direct influence, to intensify an emotion eventually to be attached to very ideal objects; what is in itself a gorgeous and unmeaning ornament, by its absolute impressiveness becomes a vivid symbol of those other ultimates which have a similar power over the soul. _Materials surveyed._ Sec. 18. We have now gone over those organs of perception that give us the materials out of which we construct objects, and mentioned the most conspicuous pleasures which, as they arise from those organs, are easily merged in the ideas furnished by the same. We have also noticed that these ideas, conspicuous as they are in our developed and operating consciousness, are not so much factors in our thought, independent contributors to it, as they are discriminations and excisions in its content, which, after they are all made, leave still a background of vital feeling. For the outer senses are but a portion of our sensorium, and the ideas of each, or of all together, but a portion of our consciousness. The pleasures which accompany ideation we have also found to be unitary and vital; only just as for practical purposes it is necessary to abstract and discriminate the contribution of one sense from that of another, and thus to become aware of particular and definable impressions, so it is natural that the diffused emotional tone of the body should also be divided, and a certain modicum of pleasure or pain should be attributed to each idea. Our pleasures are thus described as the pleasures of touch, taste, smell, hearing, and sight, and may become elements of beauty at the same time as the ideas to, which they are attached become elements of objects. There is, however, a remainder of emotion as there is a remainder of sensation; and the importance of this remainder -- of the continuum in which lie all particular pleasures and pains -- was insisted upon in the beginning.