To look at a work of art in order to see how well certain rules are observed and canons conformed to impoverished perception. But to strive to note the ways in which certain conditions are fulfilled, such as the organic means by which the media is made to express and carry definite parts, or how the problem of adequate individualization is solved, sharpens esthetic perception and enriches its content.

The color is of the object and the object in all its qualities is expressed through color. For it is objects that glows- gems and sunlight; and it is objects that are splendid- crowns, robes, sunlight. Except as they express objects, through being the significant color-quality of materials of ordinary experience, colors effect only transient excitations.

In all ranges of experience, externality of means defines the mechanical.

All the cases in which means and ends are external to one another are non-esthetic.

In ordinary visual perception, we see by means of light; we distinguish by means of reflected and refracted colors. But in ordinary perception, this medium of color is mixed, adulterated. While we see, we also hear; we feel pressures, and heat and cold. In a painting, color renders the scene without these alloys and impurities. They are part of the dross that is squeezed out and left behind in an act of intensified expression. The medium becomes color alone, and since color alone must now carry the qualities of movement, touch, sound, etc., that are present physically on their own account in ordinary vision, the expressiveness and energy of color are enhanced.

Coleridge said that every work of art must have about it something not understood to obtain its full effect.

Even at the outset, the total and massive quality has its uniqueness; even when vague and undefined, it is just that which it is and not anything else. If the perception continues, discrimination inevitably sets in. Attention must move, and as it moves, parts, members, emerge from the background. And if attention moves in a unified direction instead of wandering, it is controlled by the pervading qualitative unity; attention is controlled by it because it operates within it.

Artist and perceiver alike begin with what may be called a total seizure, an inclusive qualitative whole not yet articulated, not distinguished into members.

Interest only becomes one-sided and morbid only when it ceases to be frank, and becomes sly and furtive.

No work of art can be instantaneously perceived because there is the no opportunity for conservation and increase in tension, and hence none for that release and unfolding which gives volume to a work of art.