being thus, at the same time, different from and necessarily connected with it. In short, on this view, to say that a thing is beautiful is to say, not indeed that it is itself good, but that it is a necessary element in something which is: to prove that a thing is truly beautiful is to prove that a whole, to which it bears a particular relation as a part, is truly good. And in this way we should explain the immense predominance, among objects commonly considered beautiful, of material objects—objects of the external senses; since these objects, though themselves having, as has been said, little or no intrinsic value, are yet essential constituents in the largest group of wholes which have intrinsic value. These wholes themselves may be, and are, also beautiful; but the comparative rarity, with which we regard them as themselves objects of contemplation, seems sufficient to explain the association of beauty with external objects.
And secondly (2) it is to be observed that beautiful objects are themselves, for the most part, organic unities, in this sense, that they are wholes of great complexity, such that the contemplation of any part, by itself, may have no value, and yet that, unless the contemplation of the whole includes the contemplation of that part, it will lose in value. From this it follows that there can be no single criterion of beauty. It will never be true to say: This object owes its beauty solely to the presence of this characteristic; nor yet that: Wherever this characteristic is present, the object must be beautiful. All that can be true is that certain objects are beautiful, because they have certain characteristics, in the sense that they would not be beautiful unless they had them. And it may be possible to find that certain characteristics are more or less universally present in all beautiful objects, and are, in this sense, more or less important conditions of beauty. But it is important to observe that the very qualities, which differentiate one beautiful object from all others, are, if the object be truly beautiful, as essential to its beauty, as those which it has in common with ever so many others. The object would no more have the beauty it has, without its specific qualities, than without those that are generic; and the generic qualities, by themselves, would fail, as completely, to give beauty, as those which are specific.
