as does a golfer who hits beyond his strength at
the ball.

The psychological explanation of the percep-
tion of grace in inanimate objects differs only
slightly from that of the graceful impression made
by moving objects. From what has already been
stated regarding empathy the manner in which
the lines of the object suggest movement to the
observer will be understood. Art depends upon
such psychological processes to transmit the pleas-
ure of graceful lines and forms.

This chapter has been concerned chiefly in
explaining empathy by examples from the visual
arts, but it was not the intention to convey the
impression that empathy is limited to any special
field of art. Auditory as well as visual rhythm is
transmitted to the observer by that process. In-
deed, empathy is an essential part of musical en-
joyment. Perhaps its importance may seem least
evident in literature, but even here much of the
effect is produced by the dynamic appeal both in
the form and content of literary compositions,
whether it is prose or poetry.

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