ilds up the entire experience out of his own knowledge and store
of associations. The second man comes a little nearer to appreciation,
but even he falls short of full realization, for he stops at the actual
material work itself. His interest in the technical execution and his
pleasure in the sensuous qualities of the medium do not carry him
through the canvas and into the emotion which it was the artist's
purpose to convey. Only he truly appreciates the painting of the
"Sower" who feels something of what Millet felt, partaking of the
artist's experience as expressed by means of the picture, and making
it vitally his own.

But before the appreciator can have brought himself to the point of
perception where he is able to respond directly to the significance of
art and to make the artist's emotion a part of his own emotional
experience, he must needs have traveled a long and rather devious
way. Appreciation is not limited to the exercise of the intellect, as in
the recognition of the subject of a work of art and in the interest
which the technically minded spectator takes in the artist's skill. It
does not end with the gratification of the senses, as with the delight
in harmonious color and rhythmic line and ordered mass. Yet the
intellect and the senses, though they are finally but the channel
through which the artist's meaning flows to reach and rouse the
feelings, nevertheless play their part in appreciation. Between the
spirit of the artist and the spirit of the appreciator stands
the individual work of art as the means of expression and
communication. In the work itself emotion is embodied in material
form. The material which art employs for expression constitutes its
language. Certain principles govern the composition of the work,
certain processes are involved in the making of it, and the result
possesses certain qualities and powers. The processes which enter
into the actual fashioning of the work are both intellectual and
physical, requiring the exercise of the artist's mind in the planning of
the work and in the directing of his hand; so far as the appreciator
concerns himself with them, they address themselves to his intellect.
The finished work in its material aspect possesses qualities which
are perceived by the senses and which have a power of sensuous
delight. Upon these processes and these qualities depends in part the
total character of a work of art, and they must be reckoned with in
appreciation.

In