ADMIMSTKATIVK REl'ORT LXIII 



become iiiTuirive. Color Ijeconie.s the symbol of form because 

 color is oil the surface and is indicative of surface and thus 

 expresses tio-ure; but there is uotliiiiii' ''i colors themselves 

 wliic-h makes tliciii citlrT l)eautifnl or u<i'ly. Evcr\- color is 

 beautiful wlicu it seems appropriate; every color is u<>-ly when 

 it seems imqipropriate. Particular colors seeni to be particu- 

 larly beautiful because we have associated them with |)articu- 

 larly lieautiful things, while the very same colors will l^e 

 considered particularly ugly when they recall things wliich we 

 conceive to be ugly. Form or the symbol of form is beautiful 

 or ugly only when it produces in the mind that effect ]:)y reason 

 t)f the standjtoint of the percei^'er — tjiat is, ])roperties have not 

 qualities in themselves, but qualities arise when we consider 

 properties in relation to })urposes. 



With the sense of vision, the human mind, having come to 

 a knowledge of its power in transforming environment by 

 minute increments, gradually so transforms it for the i)leasures 

 of decoration. Kxercisiii"- activities in makiiio- artificial trans- 

 formations, liumaii beings develop the sense of the beautiful 

 and the ugly in qualities of art and transfer them to the prop- 

 erties of nature. In the evolution of decoration everywhere 

 we find that it proceeds by degree of organization — that is, by 

 the differentiation and integration of its elements. This is 

 beautifully illustrated in architecture, where a monotonous 

 nmltiplicatiou of like elements is replaced by figures of differ- 

 entiate I elements. No longer is a uniform facade recognized 

 as beautiful, but a variety of features in a \ariet\- of elements 

 must be presented in order that a temi)le, a mart, an executive 

 building, or a business structure may be considered as a pleas- 

 ing example of architecture. Variety is now considered one 

 of the essential elements of beauty. 



Athletic Pleast-res 



In the esthetic arls we have to consiiler the pleasure derived 

 from jihysical activit\'. In these arts appeal is made to the 

 muscular sense. The iiew-liorn beast and the iiew-iiorn babe 

 inherit more activity than is demaiiiU'(l for bare existence. 



