In one of his early poems, Coleridge has well expressed a truth, which is not the less important because it is not generally admitted.

The idea is briefly this: that the mind gives to all things their coloring, their gloom, or gladness; that the pleasure we derive from external nature is primarily from ourselves:-- "from the mind itself must issue forth A light, a glory, a fair luminous mist, Enveloping the earth." The real difficulty of these lifelong hunters after the beautiful exists in their own spirits.

They set up certain models of perfection in their imaginations, and then go about the world in the vain expectation of finding them actually wrought out according to pattern; very unreasonably calculating that Nature will suspend her everlasting laws for the purpose of creating faultless prodigies for their especial gratification.
The authors of Gayeties and Gravities give it as their opinion that no object of sight is regarded by us as a simple disconnected form, but that--an instantaneous reflection as to its history, purpose, or associations converts it into a concrete one,--a process, they shrewdly remark, which no thinking being can prevent, and which can only be avoided by the unmeaning and stolid stare of "a goose on the common or a cow on the green." The senses and the faculties of the understanding are so blended with and dependent upon each other that not one of them can exercise its office alone and without the modification of some extrinsic interference or suggestion.

Grateful or unpleasant associations cluster around all which sense takes cognizance of; the beauty which we discern in an external object is often but the reflection of our own minds.
What is beauty, after all?
Ask the lover who kneels in homage to one who has no attractions for others.

The cold onlooker wonders that he can call that unclassic combination of features and that awkward form beautiful.