Bell's theory remains in this state of virgin simplicity it is attractive: it does seem possible for a work of art, such as a Persian rug or Baroque confessional, and also for a natural object or phenomenon like a shell or sunset, to succeed as a pattern. But Bell promptly falls from grace by reintroducing non-formal considerations which we shall find typical of theological aesthetics. Aestheticians who advocate formalist criteria often contrast discursive' with synoptic' perception, going over and connecting up the parts of an object of awareness with contemplating it as a whole. In so far as the distinction is valid, in this chapter urged just the opposite. This chapter focuses on pure forms. Objects as pure forms is to see them as ends in themselves Having seen it as pure form, having freed it from all casual and adventitious interest, from all that it may have acquired from its commerce with human beings.