with which he has to do, all works of art and the fairer forms of nature and human life, as powers or forces, producing pleasurable sensations, each of a more or less peculiar and unique kind. This influence he feels and wishes to explain, analysing it, and reducing it to its elements. To him, the picture, the landscape, the engaging personality in life or in a book, La Gioconda, the hills of Carrara, Pico of Mirandula, are valuable for their virtues, as we say in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special, unique impression of pleasure. Education grows in proportion as one's susceptibility to these impressions increases in depth and variety. And the function of the æsthetic critic is to distinguish, analyse, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced. His end is reached when he has disengaged that virtue, and noted it, as a chemist notes some natural element, for himself and others; and the rule for those who would reach this end is stated with great exactness in the words of a recent critic of Sainte-Beuve: 'De se borner à connaître de près les belles choses, et à s'en nourrir en exquis amateurs, en humanistes accomplis.'
