

VII SCIENCE AND ART AND EDUCATION 177 



figures and these signs, confers upon them a sort '] 

 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 

 attractive of those I am concerned with. It is 

 what we call morphology, which consists in tracing 

 out the unity in variety of the infinitely diversi- 

 fied 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 province of art 

 overlays and embraces^ the^ province nf infgllppf 

 And, if I may venture to express an opinion on 

 such a subject, 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 

 excitement 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 old master, Sebastian Bach. 

 I remember perfectly well though I knew 

 nothing about music then, and, I may add, know 

 nothing whatever about it now the intense 

 satisfaction and delight which I had in listening, 



VOL. Ill v 



