Such an aesthetic value is thus dependent on two things. The first is the acquired character of the apperceptive form evoked; it may be a cadenza or a trill, a major or a minor chord, a rose or a violet, a goddess or a dairy-maid; and as one or another of these is recognized, an aesthetic dignity and tone is given to the object. But it will be noticed that in such mere recognition very little pleasure is found, or, what is the same thing, different aesthetic types in the abstract have little difference in intrinsic beauty. The great difference lies in their affinities. What will decide us to like or not to like the type of our apperception will be not so much what this type is, as its fitness to the context of our mind. It is like a word in a poem, more effective by its fitness than by its intrinsic beauty, although that is requisite too. We can be shocked at an incongruity of natures more than we can be pleased by the intrinsic beauty of each nature apart, so long, that is, as they remain abstract natures, objects recognized without being studied. The aesthetic dignity of the form, then, tells us the kind of beauty we are to expect, affects us by its welcome or unwelcome promise, but hardly gives us a positive pleasure in the beauty itself. Now this is the first thing in the value of a form, the value of the type as such; the second and more important element is the relation of the particular impression to the form under which it is apperceived. This determines the value of the object as an example of its class. After our mind is pitched to the key and rhythm of a certain idea, say of a queen, it remains for the impression to fulfil, aggrandize, or enrich this form by a sympathetic embodiment of it. Then we have a queen that is truly royal. But if instead there is disappointment, if this particular queen is an ugly one, although perhaps she might have pleased as a witch, this is because the apperceptive form and the impression give a cerebral discord. The object is unideal, that is, the novel, external element is inharmonious with the revived and internal element by suggesting which the object has been apperceived. _Origin of types._