THE DIFFERENTIA OF ÆSTHETICS. 47 satisfied, on the other hand, if I can account physiologically for the common pleasure in bright coloured objects, elemen¬ tary paintings, easy melodies, and popular poetry: only touching slightly upon the more involved phenomena of kindred origin. To apply a metaphor drawn from another science, Taste may be regarded as the personal equation of Æsthetics, for which allowance must in each case be made, but which does not detract from the objective truth of the general result. Only, in Æsthetics, where we are dealing with phenomena of the nervous system itself, the personal equa¬ tion rises into such great importance as to form one of the main departments of the subject. So we must always endeavour to account, not merely for the most usual form of Taste, but also for the structural peculiarities which give rise to the- principal variations. And especially must we do so in treating of those varieties which differentiate the artistically-minded few from the inartistic masses. Again, we have only looked so far at the sensuous or presentative elements of Æsthetic Feeling. But when we remember that it includes, beside, a vast body of emotional and intellectual—that is, representative — elements, the difficulty of accounting for these varieties in Taste is still further decreased. As men and women differ infinitely in emotions and intellect, they must differ infinitely in their appreciation of that which calls up emotional and intellec¬ tual activities of various orders in various combinations. We cannot expect a child or a savage to admire the poetry of Wordsworth, the landscapes of Turner, the sonatas of