d critics, of pretentious amateurs--and you will see by what
supercilious, incredulous gestures, being incapable of argument, this
satisfied ignorance will repel all assertions of the great authorities.

Should we, therefore, disregard this reluctance to recognize the
features of the Beautiful in great works? We must at least deduce from
it the fact that the effect of art depends upon some relation between
the observer and the thing observed.

Notwithstanding the reality of the beauties of such or such a work, in
the eyes of many appreciators, the subjectivity of each observer should
remain decisive, _vis-a-vis_ to himself, as long as he cannot be
convinced by the authority of a law; and, finally, it is imperative that
his comprehension of that law should be rendered possible by preliminary
studies. On the contrary, shall that which has been recognized as
beautiful by the initiated ever since artists created, and enlightened
criticism discussed and judged it, appear now before uncultivated
criticism as without authority?

In default of law and science, there is a sort of universal consent
among competent thinkers; and their appreciation of the highest class of
works is maintained by a process of adhesion carried on by every
conversion from ignorant blindness to the light of appreciation.

The question of subjectivity in the declared judgments in aesthetics has
given rise to incessant controversies which began, perhaps, among the
Greeks and are going on among us. Though no absolute decision has been
reached, some excellent maxims have resulted. In default of an
irrefutable definition of the Beautiful, there have been given us
images, analogies and thoughts upon the subject which approach and
prepare for such definitions:

Victor Cousin has said: "It is reason which decides as to the Beautiful
and reduces it to the sensation of the agreeable, and taste has no
further law."

"Aversion accompanies the Ugly (unseemly) as love walks hand in hand
with the Beautiful."

"The Beautiful inspires love profound but not passionate."

"The artist perceives only the Beautiful where the sensual man sees only
the attractive or frightful."

And, again, "That is sublime which presents the idea of the Infinite."

This last thought brings us to Delsarte, who, perhaps, was its
inspiration.

The following valuable thoughts of the master, while not related
scientifically to his system, are still allied to its physical and
philosop