a man should merely see the beautiful qualities in a picture and know that they are beautiful, in order that we may give his state of mind the highest praise. We require that he should also appreciation the beauty of that which he sees and which he knows to be beautiful—that he should feel and see its beauty. And by these expressions we certainly mean that he should have an appropriate emotion towards the beautiful qualities which he cognises. It is perhaps the case that all aesthetic emotions have some common quality; but it is certain that differences in the emotion seem to be appropriate to differences in the kind of beauty perceived: and by saying that different emotions are appropriate to different kinds of beauty, we mean that the whole which is formed by the consciousness of that kind of beauty together with the emotion appropriate to it, is better than if any other emotion had been felt in contemplating that particular beautiful object. Accordingly we have a large variety of different emotions, each of which is a necessary constituent in some state of consciousness which we judge to be good. All of these emotions are essential elements in great positive goods; they are parts of organic wholes, which have great intrinsic value. But it is important to observe that these wholes are organic, and that, hence, it does not follow that the emotion, by itself, would have any value whatsoever, nor yet that, if it were directed to a different object, the whole thus formed might not be positively bad. And, in fact, it seems to be the case that if we distinguish the emotional element, in any aesthetic appreciation, from the cognitive element, which accompanies it and is, in fact, commonly thought of as a part of the emotion; and if we consider what value this emotional element would have, existing by itself, we can hardly think that it has any great value, even if it has any at all. Whereas, if the same emotion be directed to a different object, if, for instance, it is felt towards an object that is positively ugly, the whole state of consciousness is certainly often positively bad in a high degree.
115. (2) In the last paragraph I have pointed out the two facts, that the presence of some emotion is necessary to give any very high value to a state of aesthetic appreciation, and
