The word “beautiful” plays a surprisingly unimportant part in the language of sophisticated artistic appreciation; I mean in the informed criticism and comparison of specific works of art. Though in ordinary conversation it can be used naturally and easily, it does not serve readily as a technical term in expert writing or discussion. To become a technical term of this kind it would have to be definable, and definable in terms which commanded sufficient agreement: but attempts to define “beauty” and “beautiful” may well have become restrained by the popularity of philosophical discussion about the significance of these words. No philosophical question is discussed more commonly or from more firmly held opposite positions than the question whether beauty is “objective” or not. Discussion of this and related topics, however, not being the monopoly of professed philosophers but being familiar amongst artists and art critics themselves, tends to remove all shadow of technicality from the crucial terms discussed. Other terms come to serve for the “objective” features of works of art, and others again for the impressions which works of art may make upon us: “beauty” and “beautiful” tend to fall away between these two classes.