another, and of self-congratulation that it is not I who am suffering: it is like what we feel at the sight of an execution, or what the Romans felt in their circuses. The substitution of effectfulness for æsthetic feeling is particularly noticeable in musical art—that art which by its nature has an immediate physiological action on the nerves. Instead of transmitting by means of a melody the feelings he has experienced, a composer of the new school accumulates and complicates sounds, and by now strengthening, now weakening them, he produces on the audience a physiological effect of a kind that can be measured by an apparatus invented for the purpose.[83] And the public mistake this physiological effect for the effect of art. As to the fourth method—that of interesting—it also is frequently confounded with art. One often hears it said, not only of a poem, a novel, or a picture, but even of a musical work, that it is interesting. What does this mean? To speak of an interesting work of art means either that we receive from a work of art information new to us, or that the work is not fully intelligible, and that little by little, and with effort, we arrive at its meaning, and experience a certain pleasure in this process of guessing it. In neither case has the interest anything in common with artistic impression. Art aims at infecting people with feeling experienced by the artist. But the mental effort necessary to enable the spectator, listener, or reader to assimilate the new information contained in the work, or to guess the puzzles propounded, by distracting him, hinders the infection. And therefore the interestingness of a work not only has nothing to do with its excellence as a work of art, but rather hinders than assists artistic impression. We may, in a work of art, meet with what is poetic, and realistic, and striking, and interesting, but these things cannot replace the essential of art—feeling experienced by the artist. Latterly, in upper-class art, most of the objects given out as being works of art are of the kind which only resemble art, and are devoid of its essential quality—feeling experienced by the artist. And, for the diversion of the rich, such objects are continually being produced in enormous quantities by the artisans of art.