them on general experience; if we say that that is the greatest aesthetic performance which gives to mankind the greatest aesthetic delight, we are brought face to face with countless difficulties; among which not the least is the difficulty of saying what is the greatest aesthetic delight, when the greatness which has to be measured is a value dependent on the 'quality' of the delight, as well as on its 'quantity'.
Now to those who approach aesthetics from the side of psychology, all these conclusions seem natural enough. For it is only among the simple organic pleasures—the pleasures of sense—that, as between man and man, approximate uniformity of pleasurable experience might be antecedently expected. All persons who can taste at all are agreed as to what is sweet and what is bitter; and all children, at least, are agreed that the first is nice, and the second is nasty. Maturer palates no doubt may be variously affected by the finer aspects of the culinary art; but though differences of custom between communities, and differences of sense-perception between individuals, mar the original uniformity of judgement, yet on the whole the civilized world is fairly agreed as to what it likes to eat and drink. But in the region of aesthetics conditions are very different. There association of
