VII SCIENCE AND ART AND EDUCATION 177 



of pleasure, such as an artist has in visual 

 symmetry. Take a science of which I may speak 

 with more confidence, and which is the most at- 

 tractive of those I am concerned with. It is what 

 we call morphology, which consists in tracing out 

 the unity in variety of the infinitely diversified 

 structures of animals and plants. I cannot give 

 you any example of a thorough aesthetic pleasure 

 more intensely real than a pleasure of this 

 kind — the pleasure which arises in one's mind 

 when a whole mass of different structures run into 

 one harmony as the expression of a central law. 

 That is where the |)rovince of art overlays and 

 embraces the province of intellect. And, if I 

 may venture to express an opinion on such a sub- 

 ject, the great majority of forms of art are not 

 in the sense what I just now defined them to be 

 • — pure art; but they derive much of their quality 

 from simultaneous and even unconscious excite- 

 ment of the intellect. 



When I was a boy, I was very fond of music, 

 and I am so now; and it so happened that I had 

 the opportunity of hearing much good music. 

 Among other things, I had abundant opportunities 

 of hearing that great okV master, Sebastian Bach. 

 I remember perfectly well — though I knew noth- 

 ing about music then, and, I may add, know noth- 

 ing whatever about it now — the intense satisfac- 

 tion and delight which I had in listening, by the 

 hour together, to Bach's fugues. It is a pleasure 



