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STANDI'' >IN"r) In hi-i very stipj^estive article cm "Cniiceptiuii.s and T„i\v> in .-K^tlR'tics "* Pr.ifcssor Kirschniann has pointed out the necessitv tif definiiis,'^ ;e^tlietic O' inceptions on the basis of a thorou;^'h analysis of the [thenoniena concerned. The justification of such a demand cm besVown not only by the ex iinples which he selects from },'eneral icsthetics, but also in the realm of special ;esthe- tics, where the confusinj; multitude of expressions and distinc- tions obstructs sure and direct jiro^'ress towards <.;eneral know- ledy;e. Thus in the followiii",' discussion an attempt is made to contribute, critically and positively, to the elucidation of the question concerninj,' the nature and forms of art. Since art and its branches inij^ht also be treated from other standpoints, such as th.it of the Iiisfori.ni or of the technici.m, it mav be stated in advance that the arj,Munent will here be confined to considerations inm\ psvcholoi^rico-x'stheticil points of view. Here the jiroducts <:f art will ouiv be dealt with in so far as they .'re ;estheticallv observed and jud<^ed, anci as f.ir as they are subject to tlie laws, nie.isurcs .nid suppositions which scientific aesthetics develops. 't"n]vers:ty nf Toronto Studies, I'sycholnKical Series, Vol. I. pp. 17'i ./ ,<, ,^, I. TIIK Ci)NCKI'TI(i.\ i)F .\KT. In ,1 proper definition .i statement is required of the X''""^ proxitntiiii .md the dijjirtiitui sp, ci/ica, thn^u^'h which all j^'eneral and all ch.ir.icteristic attributes of the conception to be defined are determined. Therefore we shall have to examine some widely liiiTerent definitions of the conception of art and deter- mine whether they s.itisfy these conditions. In our criticism we shall .ibiile by the jirev.iilinj,' usa^e of the lan<;u.i^r(_. (helievinj.j th.it .\rbitr,irv deviation therefrom is u.sek's.s), ,ind b\- the loj^ieal deU'.and th.it coutr.idiction imoiii; the conceptions emjsloved is ti.i be a\oided. /. .Ut !■. Ihf prodiiit of i^oiiti^ — .iccordini,' to K.int and SchoiK'nh.iuer. In this definition the conception of "the i)ro- dr.ct '■ '.N obviously \\\,t the addition "of a 4 I'.\ tliL- ch.i!Mctcri/a- ti of iht- -aiiii.- kiml. Thf conrt.';>tion of j.nxhict i- '\n\W ijijiroprialc to scrvf a> i,'*'""-' p)o\i»ii(i>! for art, >imx' ('ionlitk-» an attrilmtc -vhifh •.-. valid tor all art i- t!uTr!)\ (ktei iniucil. \i/. to be a pro.iiict. > work of living; bcin^;-. In tlii- iKtumioii it i- -talcd at the out-el that art is not t'ouiitl ii! the same \va\ a- we tiiid >tar.> aii'I elotnK, nionntain- an.l val!e\ -. or^ani-m- ami I'lineial-; hilt that it is made, ])n)dnced by men. On the other li.ind the ,i:tjry,-fit;tl 7!>,'(7//cientitk- woir. as weii. Aceori- in-!v a further delerniination of the pro.inels of ;,;eir.ii.-. i- re- (jiiired to determine iin.inibii;iious!\ the limits ot art. \l'] If the further (iiie.-.tion be i^it whether a Renins i.s iiecessarv to pro- duce ,1 work of art, the answer inu>t aL,',un be L;iveii in the ne,i,;a- tive. I'or a> ,i rnk tliis title <'f honour is reser\ed for the most import. mt .md ori-^in.il of ,irti-ts, while in the production of works (;f .irt more modest t.ilent is also ,icknow!ed,y;ed. Therefore if our detinitioii i- too wide from the st,iiiiipoiiit ('7i, since it do<.-s not coiihne itself to works of ,irt, it is too narrow from the -tand- ]ioint {/m. since it does not inelmle .ill art. i. > It we tr\' to esc.ipe these ditTiculties bv delhlin- j;eliills ,is an .iiteilCN ill the production of works of art, we f.dl :iito the error of ,i , nru/u^ :n dflinutuio, nsini,' in tlie definition the coiicejuion to be delined, z. A>t i^ fyr luti-.ity ol' tin f.nUti'^v ir,,if/iix th, p,yt>\! in torn: ,ind t oitrnt — .ifter K'lstlin. Here the .;'''//' ^ py.ixnimm is " ,icti' : of f.iiit.isv, " the .ittribntesof which form the (frjfcrrnlia spfcifica 'riieie are stron:.; objei tioiis to this definition ,ilso: — (eMiirt.cted to ,i primitive sta-e of its ori^'in. Now, to us who observe ,ind ,ippreci,»te, art is alw.ivs maiiifefted as .1 t'ini>lK'l w.^rk. and tin.' inference fruin the ctTect U> ihe cause is uf .icknowleiltjed niicertainty. (/)i The i//_f,'t,-n,'!,i ■ipt-ii/tca a'lMi cannot be re},^-lrlle(i as a Ii appv choice. It niav fairly be (luiibted whether in a portrait a /;, ,- activity of fatitasv is j)re- sent or tiiids expression. I'nrthcr, the limitation of art to the perfect in content and form must be rejected as entirelv unsuit- able. I-"or in accordance with this view theie wonld be iio place at all in .irt for the insi^niificant and u.L,dy. In the definition u,-h lhe\ diverije in their statement of wliit i- represente<]. They desiL,Miate representation pirth- .1^ imitation, partly a^ repetition. Di.sc.irdin.if a special .icceiituation of this distinction, we arri\e .it the folhnvinj.; six i — i.M of n.iture. or s^-nsf-pcrception — .iccordiji;^' to I'l.ito, .Vristotle and li.itteux ; (A) of the p.is.sion.s — according; to Dubos ; \c\ ot the eternal ide.ts .ipjirehended throiij^rJi ^w^ con- ti in]>lation — accortiin.i; to .Schojunhauer : ((/) of idcMs of iniaL,nn.ilion — .iccordiii;.^ to Rie^'cl : ( c ) of the beautiful— accordin;; to .Shafteslmrv, .Mendels- -olm .md Schiller ; (/) of the infinite, the .d^sohite — acctjrdinj^r to Scheilint; .md, He.Lrel. Tile conception (,f .irt .is imit.itioii is e.s[)eci.illv ch.iracteristic ot .mti.piity, but oliviouslv imit.ition w.is not t.iketi in tin strict .-.e:i-e of the Word, -ince |ioctic.i! de-criptioti was .ils(^ included. I'.itteu.v, who ilso say> of .irt th.it it imitates nature, specifies that a<.,r,,(id ,ind -elective imit.ition is meant ; while Dubos would spe.ik r.ither of an :in.i-re tcoi)vi than of .in imit.ition. Indeed, the n.arower nuMniiii; of this expression would be v. did only for com{).ir,itively few w<.rksof .irt, and thus is in.ipjjropti.ite f<,di it.s iiieal demand may h<.- juMifiahk-, tlurc .irc slill, accor.lini; to its own liicu-f, in.my thni-.-> in ,iit Nvhich .!•) not -.lU^iv ■;t^ norm, an-i w.- arr here m search ..f onlv -uch attributes a> may be valid for all '^ivcn art, (In the other h and. in the a.-»ertiun that all art is representa- tion lies somelhiiiK- nianifestiy correet. It i> ba.->e.i on tlie ob- servation that all iieieeptible voluntiiv actions of livin..r beiiiL^s mean, ex]ite.>, repie-eiU .oinelhiiiK. Tlii- i^ not onlv valid foi tho^e action> which lemain in the bo,iiI\ >i)heie, Mich a> 1 m- ^Mia^'e. fauii expre-ioii and i,'e-tn!c. bm i!>o f,,r >nch a- extend their oiKiatioii- mlo the outer worhl. The swiiiKin- of a bell bv the wind expresses in itself nothinj;, but with a i;i in at the roj.e It inav mean fire. l-;verv \olnntarv exine-Mon of l)fe has an aim and a meaiiim;, .^nd it art l^ re.L^anled a> ixi'Vi-vUtition, what :- meaul l■^ that the work of art ha^ not oulv been aecom- pli-lied in the manner of aiiv otlKi e\ent in the sphere of mrjr- j^auie n ilure. tlirou-h cau-al nuchaui-m, accordin- to iu-ce>sarv Iaw>, but al-o ;hat it i^ comi.eteiit t anieaii, to fxpre-> .-oinetliin,:,' which in it-eif ;> independent of tile causal connection of its Whilst we are able to a-cribe to tlu - mt^ />r,nni//n// of this detmitioii a -ood and useful iiieanin-. it is not s., with the ,iitji>>iiti,i ^p,,ifi,,t. In one form of it we are siraii-ely coii- fronlid with the as^triion that tlu- infinite or the al.'solute is represented in art. Without detailed, coiiinieiit this >iatement can certaiuK not be understo.,d, and even with c.-;;ime:it it fomis rather an ideal, .m .nui, than .in uiiprejudiccl determina- tion of the ch.inicteristics of ,irt, Similnlv the definition by Sehoi>enlianer is b.ised. ,,n ,i met.iplr. sic.d i>resupposition, which inq.lies the connection with ,i pecnli.ir jihilosophic.d system. With the lUMi-acceptance of the uieiaphysics, the j^eiier.il v.ilidity ,,f the detniitioii dis-ijipcir-. Much too u.irrow on the other h.md .lie tlie limit. itioiis 1,7!, i''i and 0/ 1. .Seiisf, j^ercejition, im.iuiii.iti< n, imssiou, .ill cm be re])rescnted in art. ..nd there- fore iKiiie cm be Used to the exclusion of the others as dijjrytntni spitifii If- The ne.irest .iiijuo.ich to the.ictn.il f.ict.s is )X\\ii\) in definition (, ). It is true, the conception of the liciulifnl is b\- no means i i A unambij;;ninis. If \\f niiik'rst.ind by it, tlu- jiliMsaiit, pcrluips % tven with n-fc-ri-ncc ti.i tlR- ilirtct fn tor (if tiic itstlutic ini])res- 4 siiiii, tliLii th.it lictiiiitidii is 1(1(1 narrow, for us^^liticss .iI>o oht.iiii.-- in art. P.iit if ux- iii.ikt.' tht- he.iutiful to co; cidc witli tht- -^ iL-sthctic and thti> likewi-M.- iiichuk- the- luiplcis ant, then but .1 M -ni.ill ch,ini;(.' i^ r(.-(iuirt.(i m order to (ibl.iin .m .ip[)ro.\ini;itL-ly ^.ili-.factor\' dttinition. Wc need in.Mk of ,,\lJii/!i ti-pri s,-ntalii>it ir. ordi-T to d(.'scribf cxacth fnoU};h the n.tlnrL' of ,ill art. Ho\vcV(.-r, thcri- r(.in.iin,> tvcii in thi^ ^t.itL'nK'iit .1 (litTicnh\'. r>\ .iccL-ntn-itins; in '.Iil- con(.-t,-i)tion of rtiiroint.ition the >\nib(jlic.il or sij^'n-n.itun- of the work^ of ,irt, t!ie f.icl rein,iin> unconsidered tl'.it n.itnre mu-t ,il-o be ret^.iidi-d from tliis ])oint of view. !'\ the ( lerni.in word " I-hnfuhliiii;.^ '" h.w been denoted th.it ])rocess which occurs when we lind life, sentiments, torces, ; (,x]ire-sed or re])resented in .my ]>henoriien 1 wh.itsoever — not - nureK- in those of .iri. I-Aery ^othetic imi>re.--sion .1-- sueli, / found .; I ie.iti d, i> thus ea]..dile of >U).;,L;e.>tinL; me.mini^r^ .lud i imi'.irtlUL,' .iuim.ition. Therefore the modified detinition \,) ; .i]i]ie.u"s ton wide, or .It le.e.-t i^ li.ible to be mi^nnder■^tood, In other word>tIie .iccentuation lie-., not in that .irt re])resents >onie- thin;.;, but rather in tli.it it i^ a ])ro(iuct of inteiitioiial aetivit\. So wi,- return to the ^'1 uif' prox mnoi! of the fir^t 'letinilioii ; but the liiif, ) I iilia ^pi 1 f/ii i? c.in ob\iousl\ .iloiu; be found in the jiar- ticul.ir projierties of the jirodii.t, /.r. in its aesthetic nature. Thus fin ilh- we .arrive .it tin.' definition : ./;/ ;,v a-'itlutic pifiitnt. 1 Hut ,L- . V ////\ />r.'i7w«;// We niiL,dit .ilso emplo\ the coueeiitioii \ of the :e^t]ietic impression ; thouy;h it mn^t be i),artieul.irl\- de- y termiiied thront^di the coiice])tion of ])roduction. Hence 1^ % ( .bt. lined .1 definition the eoiuerse of the preeedinj; one; .\rl ;§ Hi prihiuoil it-^thrtic iinpr'^^iiiii' . That which f(jrms \.\\tj: l;i-hus -1 proxnnimi in this was i1iffi--rinin.iUuii iii liic CDncppliori of a->tlu'lic ir!ii)res.SH)ii. and tlRTrfore rt-fcr tile reader to \'iertei;ahrichnfl fur WissenSihti/lliihe /'hiloiophie, Vol. xiiii. p. 154. /< a II. •I'HI. Kl l.\l'Ii'N 111 AK;' 'I'l) KINliKl-.H I'Hl-.Ni )mi:na. On till,- Ii,isi> ii (k\tli>pril in tin.- fnri-ij;niiijr -Kliipii, uliliiiiis :iri- lu he .is>uiiu-(l. tir^l, t" iiitiiif, >(.-coii(l, to --( Hiur .nil! tw art inill!>tr\- i ir irli^.m acti\it\. With tin.- tir-.t it li.i^ Ml I .-miiinn tlir .ittTilmlL "I !h iiii; x-^tlKtic iiii!)K'--,-ii i!i ; w'.tli the >fi-un(l tli.il c.f litiiii; ,1 itv.iliuii, ,i iir.KliKt I'f hum, 111, vnliir.t.irv action. I. /'/'/, l,:'.l/l.'!t <'/ III/ .'.' II, Hill, . .MI tlin-f l-tlutic iiniircssioii^ which an- not n..i'\- or pnnhucii In-lon^: to ilio i^ri-at i-in-K- .•!" tli.it whicli h.i.- Ihtmiiu, ..; h.i> iiitur.illy .iri-(.n, I.I. to tiatuu'. Thn> naluiv ,in.l :irt liiviiic .inioiii; thcinstUfs thf wiiok- rcahii of the a'>thctif with rt-s^'anl to the i(.iii]>a--s ami (lu.iniity of th.it which it prL-.Lnt>. X.itnrc ccr- t.iiiiK cxccdl-i art. 'rii.a wh' li hum. in li.iii'l h.i> lnon^ht forth -hnnk'- hiforc tin.- hou^lllt.^■^ nia^'iiitiuic ami almnd.ince of the w, lillinij the wi(k>t spacer svuh iiiniinn.rahli.' o)IUra^ts from bright to (lark, with ijn.'xlian.'^tibk- ru aiR^^ of coIour-toiR-, fmm tiie ici.in, cvi-n in his Rrandf.st coiiipo.-ilioiis. cnmp.iro! willi tlic prodi).;ioii.s trraity wliicli the acou>tie pluiiuin- ena in liviiii; .ind inorj^Mnie iiatnre pre-ent to n>i at tin -ci-^hore and in tlu' fonst. on ihi nionntainN and in the v. dies s, in iitv and couiilrv. above ns and below ii> ' Whit jioet !ias words enon);h to mirror tlie varions facts of n.iir.ie, from the itiflexihle regularity of the inur^j.iuic world to man's freest and finest sentiments and emotions! Oni of the endless continnitv of the temjioral conrse of event.>., formative art selects one mom- ent ; the painter j^ivcs np depth iml the sculptor coLhh Indeed, fronj this st.indpoint art apjKais only as .1 limited .section of the table of jHissiblc aesthetic impressions, one mean patch on the ),rt,rjreons fjarmcnt of the lieantifiil woild. Hut, as man rises morally iImivc nature, of which, iiuantUatively con- sidered, he i> ncrely an infinitesimal fraction; as he theoretically tncotnpasses lur with formulae, measures, concejUions au ,in jrti--t. An, tliL-n. i> iiul\ ,it .1 (ii.-^.i(l\ ,uu.i;^'e lis coiiip,iri.-(i with X.itni-r, when it tric^ In rc.ich hiT !)\- ir.iit.i- tioti — U) comitfrffit rc:ilit\. Sirt-c smh a prott-fhirf, lifUMii'k-d iiijiulicidttsly l)y N'alura!i.>ni, iiiu>t \iv i.'aliLil ac--th(.-tic iil\ quite iiiiiiiipurtant, (.-veil irrelevant, it i^ in a pnnly a'^^thetic Cinsulcraticn may -nr]i,is-; n.itnre. If the pi)int> ill wllieh nature slio\v-, her--i-h' ^o rieh .ini! i^n a ,ire not e»e:iti.il li the ;e>thetie elTcet. hut an.- {•> ,1 l.ir^L- extent irrele\aiit or e\en (listnrl)in',^, tlan ,irt m.i\- enter intn enmpiti- tion with nature and nia\' exe-.l in more tli.in one re-ijieet, 'ii .Vrt li.i- at it^ ■.mm iii'l thi- i;r,,it>i puiitv .'/ir\lli,i!\ *j}itt. It is, aecdriliiii; tn it> nitnn. .ni'i purpose, onls ae>tlietie impres>iiiii. .nid wliete there are uthei .idiliti'iuai pf i!>!vm-. and inteiitiiui.-i, ;is in .irehiti-eture 'thelie pro(hielion. In nature, nn thi otlu i h.iiul. the ])roperty of hi.in;„; .le^tlietie impri>^!on i-., -.0 to sp^.ik, incidental ; it i.s on!\' one moment, and th.it oitcn not a pru- niineiu one. Not in ^rdir to jde.ise !i.i> n.itnre heconit- so .imi not otlierwise. hm .lecordiu),; t'> in\ io] iMi- l.us.. it l'i>rm-- .1 e.in-^al order which ()iil\- occasiona'dv wi a^lipt or tind 1 l.ipii d to thi ci'iiteinplation "I .ie--ihitii ipprtlieii-.ion. I low ,.tten wi- meet with ti;;liness in n.itnre ' \\\A when we >i)t. ik of he.iutv it i> mostlv on the ijrnnnd of .111 ■ r.infnlihin;^ " ,md tiorn>win>;, which transforms for n~ the r.iw -en^e impri-^^ion into a pleasinj,; o.ii-. aesthetically ,i])plie.il)le. Witli .ill kiiuK of more or less fantastic additions we eiirieli N',iture .iiid thereliv render her de- sirnns and capable of satisfyin^j ns aesthetiealK, The pudomi- n.ititii,' p.irt in lu-r is and remain^ tlie tiieoretic.d and prartici! nie.miiij; — the wliolearmv of connter.ictin;^ force> which we tr^• to ;;ra.>sp, to nnderst.md, and to force into onr service. It i.s onlv in interlndesof (piiet reverie that we mm to n.itnre for onr con- templative valne>. •jnite different is art, which owes it- existence to the arti.st, Hid which he has created pnrelv to satisfy aesthetic wants. In ! he presence of works of art onr thonjjht and will are trans- formed into contemplation ; iml this is the pmjH-r fnnction of a U.^ h\ 's a lO work I'f .irt. Thr'H'^ii the ii ediuni of the work jh rcuivt-d wl- rcecivL- tlie i'U-a> aii'i thoUKlil- of the artist, which .'... iMt allow our fanrv to liavt- Irct- plav, ,i~ di-.i- nature. The ae-diclK in tin work 1.1 .crl pre-eiits itself to n.- ■~ei),ir.ile(i from .ill ili-tml'iiiK aiui coi'.tu-iii.ir at'ees>orie-. from ail extratieoU'- uiear.iii.L,^ am. prohlem-. There are no^e-thelic .idLijihuni in it. or,., le.i.-^t there shor.ld Ik non.'. 'I'Ik- connection of all constituent- i-r.iit deter- inined hy c.iu-.d. hut hv ;e-thetic points o'^ view. In thi- the arti-^t h.is free ch..i< e with re'/.iid to his -.i.l)ject. I-'.\ei' v.h.'re lie .i])i)e.ir- to imit.ite. wluie he reple-ents a p.irt of nature, every cou-tituent is ivt of e, Hut we m IV irr i!it to .irt ///< )hh,i-i,-sth,tici-ffict al.so in a certain -en-e. The im,ii,nn.ition of the .irti-t is caji.ihle of creating; th.it which doe- not exist in n.i'ure. wliich jierliaps even ciHilii not evi-t. The whole realm of ,-oreerv. tradition and fairy tale, of the m\thic.il .ine- the .irtistic yet r.-elul structnre whicli we admire in loftv citluilrals, -umiiluous palaces, or m..uument-? Where, lin.illx. dot ^ nature offer us ^uch nni-ic ,1- tli.it ■ .f our concert- aivl op^n-. th.it li.irnioiiious .ind melod.ions eoinplic.itiou of toiu - .md tiinlires, wliie'i so intini.ately excites our emotion- .ind -■ m.init'.Idlv in- sjures ;in of works of art : other tliini^'s, such a- caves .md jrrottiH's, tnav snj^jjest arcliitectoiuc .nt. Hut ,1 rcil nuxiel for art tluv iln not foim. I'.viu thou>;li all the elements of form .md content which ite to l.e foi.nd in the imMlnctioti- of the arti-t niav 1h' nu t with in n.iture, nevertheless the coinhinations into whu h the iili-f- h.iii! unite- them, ,ire cliar.icleristic of art; and It IS the-e comlnn.ition- th.it determine the lulai aothetic impres-sinn, ihns ittainin^; the incnli.'r effects which secnre to art an advantage over natttrc. .\n.>tlur so.ircc for the trreatcr riches of ai'.istic effect is to he fonmi in tliat fact which. I havi else- 1 1 where* iii'ire partic^ilarlv discnsseil iiiuler the ii.uiu- i)f " .l-;sthelic Justice." This inanife-^ts itself in the fact that imn- aesthetic vaiiu-s, JKisilive and ne^'ati\e, ami even the ui;liiiess of realities, iiia\ in artistic rejiresciitatiiin tiecmiie otijeets n! jiieasuie, ami tluis lie transfornie'l int. < >n tiiis n; fonilitv rests a far-reacllinL( aiivantaLre of art uvei nalnre, (r) There is annllier puini uf view uiiieli iila\ -. an inij)M!t,(iu role in art, t)iit is nut a'>]ilitMlile td nature, :Mnie!\-, ,'/), i^iriitiP' I'f li s\. r pir/t (li'o: of tin txi , u/ii'it. In nature e\i.r\ thin;; is ,is it IS. evervtliin^; i> perfect in its w.i\ . In art. nu the uilur lianil. the representation (jf natural (tl)j;cts, of ideas, ^eiitinieiit^, etc., ni,i\ of eourse lje luore or less successful. Here the conteiit, .'ip.irt from the form wliieli the .irti^t has ,i;;\eii to it. is in it.^elf .icce.ssii)le to un, ami the .irli^t's intentions cm he i^Uo^rd. Hence We nia\- eonipare intention with e.vecution. and iNo iin i- ^'ife other form-- tli.iii tho^e selected. Thi^ afTord- .m osenti.il cotitrilmtion to the .ie--tlietic jmltjnient of .1 woik of .,rt. for the execution in. i\ ]ile.i--e or displcisc us indeiniidi nth of th^ -'li- ject represented. In tlii^ tin mere technic.il mean-, and tlieir ap]dication.s .ire of no ( I .n'-ei|nem e ; >ueh, {>■; iii~l.nue, ,1-. the nie- cli.iiiif> of nui'-ic.il m^triimeiu,-, the l.iws ..f h n mon\ , tlie i ■: ^ ..f jMictic structuie, till' pre-'.riptioii> for the piep.ii.ition of pi;;. Hunts or the production of inteiisitx' contra>e.. All these helon;- to .1 pureK technicd jud^nieiu of the woik of .ul, which c.in he ixeicised oiiK h\ those few who are rend.ered comjieteiit critics throii;;h >peei,il stud\- .imi t. .\]>(.'rience. l!ut .irtistic rrprt-i'Ut.i- ti.iiis ni.iN i)c judj^ed e\eii .ipart from technical consider. itmus. We m.iv Imd .1 cert.iin nnisical coinpo-.ition poor in foim ,ind \oidiif expression, ue m.iv eiitieise .1 picture for the li.ush- !Kss of its contrasts ; we ni.iy think a i)iece of scnl])!uie stiff , we may censure .1 jx.ein for its ])rolixity ; ami all tills without cntcrinK into the teclnicil origin of tlieir defects, or tiie p>s.si- hiiity of tlieir reiiiedw Tiius in this liirectinii also .111 ptcsetit.s to aesthetic jiulj^ineiit .1 new .mil v.iritd field of oi)er,itiijn. {d) iMtiaily, since ,irl is ,1 priKliict of iniman volmit 'rv utioti, w.',// ^truttr di»i,t»ii\ ,iie made upon it th lU i,jM)n iKiiure. Tile tiuist improl)al>le, tilt most undijjiuhed. is n eipled *l'Trufturli, Jahrhmlu-r, vol. !'«, pp. ::c>4 .In/. a 12 c)t n.ilnri.-, ^acausc \vc arc iKTincatfi with tlic co!U-ictioii that her iiivariahk- and inviolabit.- law^ have l)t'fn the rausc. Tlic ran , thi ir.iiivi(hiai, ihi; ahiiiinnal, ^taiid un tin- >ainu k-vcl with iru.rd t' > luccssatA ciindilii'i!> as the CDiiii'.inniilaci.', tlie a\i.-ra,i;(,-, the matter of e\er>d i\- nccnrreiice. Thatof which the (iris^iii anil ]ia~t are nut knnun ennipeK an aeknuwled^nielit of it^ ime^^it\. qnite as nineli as that nt which the cnur^e ,1111! ccin- (lition-- are >r.iticientlv in\e^ti,<,'-iteil and made maniie-~t. It is wli'ilK different in art. That which art lirin'4> fi>rt!i i> not re- ([^dred to in>tif\' it-eU" hv recnrriiiL; ai^o in nature, I'or ry asthi-lic iln|lre^sion 1^ ]. lea-ant ..nil -.iti>t.n. to:\ when !t .s in it-'clf a unit\ .md not .•ie]iendenl lor etTeet upon outsi.le fac- tors. Th.il uliieh is re]ire>ented m irt niu-t therefore of it-.elf aj'i'e.ir iio.->il)k- .nil! jirohaMe ; d nu;--; lie.ir in it>ell the stamp of trntli. ,\rt ha- not lieeii .1 -torehousi.. ,ind ah- iioinialitie-, Imt h.i- alu i\- iieeii the exiiouent of t\pical fe.ittnx-. I'o! ;h!- -.iUie le.i- in .neidenl i- proliililteii in .lit. Where the ;ndi\ idn.d, the .Llmonn.d. i> repr-seiited, .1 circiim- -!,intrd .ipp.ir.iln- of e\iilanator\ e\ eut- v.ust lie introduced uliieh m.i'ki - the iiecn'ii.nuie- .ippear nei'e--ar\-. Thn- e\er\- tliiiij; (.s-enti.ii in .irt mn-t he jirojiai^.ili. d from intern,.! l.iw>. We are dissatisfied wlien the citistiophe of ,1 no\el or dr,iin,i i- II. .1 llie n,itural I onclusioii ftoiii tile eoniriv inees ,md ili\ilop- ineiits in till' ])!ut, situations ,ind cli,ir.icters,'l)Ut is lnoii^lit ahoiit t)\ some s;j,]i!iii, n.itura! i\e!it or hv tlie .iccideiit.il interference cf tliird jiersciis. l''iir tlii- ri-.ison so-c,ii!ed dr.inuitic music, which .ic((nires the rey;ul.uit\- of its pro.ijress Iruiii its .idapt.i- timi to ,1 text, h.is ,111 iL-sthcticalU' incomplete elTect if jur- f..:med .ip.irt from the st.iy;e nr witlioiit the .ici'oiiiji.uu ins,^ text. 2. rill ri/tt/iiiii of It) I '' •>>: !>i'iii^t>\ itiiii ^, 1,11k. The :cstht.'tic (litTereiicc hetwei'ii n.ilnre ,iiid irl cm tie reduceii tlir>mj>;liinit to tlie sinipk' idiM that the latter is ,1 pioduct of liuinan volition, an intentionally created a'sthetic impies-ion. On tlie other hand, with re;,jarvl to the second form of oui deti- nilion of art, in wliich the .ittrilmtc " to be a prfxliict " forni.s the .j,'<'««.s proritmim, the conception of "icsthetic impression " is characteristic of the distinction hetweeii .irt .md otlu i t>r(Khuts. 13 J 3 <,i] Art imiustrv, or lliL- |iro MinK-tiiiu-- ,iccc]iU-'l .1^ .1 kiiiil I'f art, C(Hnc-s nnilt-r tlic lic-ailiiit;- dI the UM-fiil, an. I thu-. servo liractical demands ijnl\. The c ii(I> of art and uf art industry are therefore entireh' different in principle and ;e>thetic sat;>factMM is not necessarily expected fri. in tlie arti--.in'^ '.v.irk. I'.ut the twn are not nir.tnally excln^ive. Thee nia\ cinilone and furni what i- I'allefl artistic worknian^hi]). In this ca-~e the w-irk iMt iinly s,iti>tie^ practical ileniand-- hut al>') jirud.nce^ an ,i.'->tlietic iiniiressidii. Hcu-, a> in arcliitectuv, , thi^ duuhle de-^linatiun "1 the same product of the iinman lianil jire^eut^ neitlu-r ditfi- eult\ U'lr ci'nliadiction. It is not of essential c iiisi-. pience to the nature < .f art. whether it .ipjH-.irs free and ^e!f-depenul)ordiiiated to other ends. 'I'l.i- di^tiiictii'ii is not entirely mis^in.i^ e\en in theothcr.irt-. Th.u-. for in->t. nice, a poetical work m,i\- [)le,isc, ,md ,it tlu- >ame time educate, and ■-.iti>ly ethical dein.uid--. Siu .1 h\-]iroduct^ m i\- lie r.iri-r .ind less jiromineiit in poetic ,irt, hut the\- pl,i\ ne\erlheles-> 1 lift incon-ider.ilile n'll'-. Heiici' .i cki^^ificati./i; of tlie ,11 1> uiidel the d.uilile he.idiii;.; "f free .lud uiifiee fonii.ili' m, .1^ Ii.is been ]iropo>ed and emjiloyed hv Iv Voii Hartm.inn", i~ utteviv iin- praclicahle. It must lie .ilw.iv^ kept in mind th.it \\<- wdi.iciil- it'izes .1 novel according' to the- .iinouut of instruction he from it, or .icconliu.; to wdutlur ^omi or evil is fm allv vict^r- ioii>, no more emjilovs .ni ;esthetic st.md.iid th.iii he who jn;es of .m .irtistieailv carved c.diiiiet .iceordini; t- it> eiiliic Culltcilts. (/') Whilst form. iti\e .11; esprcni\ si.ii,,i. ni a nitui.d le- latiouship to .in industry .md h.indicr.tft, i>.>etrv <.n the ■■tlier li.md is clu.stdy related to science ,iud ]ihilos.,ph\ There i.s no doubt tli.it not cinlv cm poeti mI cre.itions ii.ive ,1 scientitie i'.ilue, but .list) scientific works m.i\ produce ,m ;cstlietie effect. Works such as l'Ti:yUy;'s /inWrr ,in^ ,/,, /rii/s./hn l'rrt:a>ii;nilirit ,md M.icaiil.iv's /:>j(7vv ^ive b'ih instruction and ple.istirr Snrh 1 oticnrrence of both interests is ;io>>ib!f. .nid even iin-vit dhc-. * Set- 1ms .f ~lhrtu >. Vol. n. [ip .sv> ,■/ uy. a 14 ■^iiK.- phil(>-ij)hv and science in.ikc use, in their rL'pre-ieiit.U'.un, 01 the ^.iiiR- ir.atfri.il as poftrv. N'cvorthL-lcsv tlieir laws and amis uiiiain <.-^>^.TUi illy ('.ifTL-ront. The task of science prescribes for it-- repre^entalions cm tile one hand obedience to rules of lo^'ic, and on the other hand — where empirical fact< are de- j.ii^ted — reliable truth in the ik.--cri[)tion. In addition there are certain di'lactic recjuireinent^ which are >ati>fied by suitable -^ronpin.s^' "I the material, and the sclecti"!! of ciniprehen-^ible exiiressicii. Hence ciearne.><, precision, exactitude, lo-ical co- herence are the deiiianii- t.i be satisfied in scientific works. I lonbtle^- there niav be work- which comply with the-~e rr.les without pr.Khuin.i; a ])leasant impression. For thi^ reason tliere n,.i\ arise here. ,is in art indnstr>\ the desire to have the . (esthetic cravinj.; satisfied aUo, as f.ir as possible, without detriment to the seientiiic ends. Converselv. it is n itur.d that the work of art ni.iv Inllil scienlitic demands, and inculcate certain scientific truths. Hut iM matter how closeK these two points of view mav tie CMmbiiie'l, tluv remain nevertheless two modi's of con- suUr,iti"!i 'if the s.ime ob'ect. essenti.iUv dilTerent ,ind distinctly sejiarable. Hence onr definition of ,irt has stood Mle test in a two- f. -M directMii. We mas. therefore, unhesit.itim^^lv accept it ,is ,1 b.isis iiii ,1 elassitie.itioii of the fine arts. Hut in this task .dso we sh, ill proceed bv criticism of the m.inv ])revioii> attempts to est.iblish .1 s\ stLtn "i art. Ill l.I,.\SSn-K \ 111 iN HI- \K v. Tile illdividil il kinds, whiili c.ii. be subordin.iled to the j^jcn- eral conception of art arc easily viiumerited. I'.ut even in earlv times .1 lUsirc aro.se to furnish, beyond mere enumeration, .1 classifieati'in, that is, a jjronpiujr accordiu); to logical jioints of view I iiil-. in this way a system could be obt. lined which should i-h.iracteii/.e the indiviihi.d line .irts .is represeiitati\es of cert. lin loj^dcal possibilities, and which should leveil the inner is,.ii for their sepiir.ilion. .\ further effect of such classifica- tion would be to eii.itde us to conceive tlie manifoldues.s of the 15 (!!iTt.r<.ut t'lrnis as tK-cossary anil at the same tiiiu- warr.uit the coinpk-tt-ncss of tlie classiticnti aceom- ]i!i>he.I I>v (lifferentiatiuj^r "Ue attrihiite nf it, the s()-ca!le procedure may he cfnitiimed with the >]X-cies thus obtained si. that the^e as^aiii are ili\iile(l into iuilividual funns. Since the lir>t tiilTereiilia'bin determines tliii^e that fidluw, it must he kept in mind, in the f'dli i\vii\;; (ii>eus>inn. a-- the j^ravitatinn jmint. Th.e other lui^ie.d rules, wliich .ire ueee^--arv for classification, i!o not nei/d to be >peci- all\- einpha>ized. In the hi-tory of lesthetics, five points of \-ie\v have chiefly been adopted for the ])rimar\- di\'isiun of the conce]itiiin of art : fil The >( '/i( -V, which mediate the ]jerce]>tiou of the work of art — H.itteux, Herder, He-el, \'i-clier ; 12) The III,, Tils I'f' !,/>- ■iitathiii iword, tone, etc. I — Mendelsohn, Sul/er, Kant: ^ \- The -.(lacui! and !, in filial f^'iiii '>l tin phriioiiirnoii — Kovtlin. Sch.isler, I'echner ; i,p The suhji-its .y icprts, nt,tl!.- aiuf — r)ul>')>, Home, SchelliuL;, Hej^rel. Within these i)rinci]ile-. of clas-iticition occn naturally main- otlar di -linelion^. Thus, for in-.t.inee, Henier makes use not oule of ijie two liiijhei sen^e^ ^shich he otherwise ixclu- sivel\- emplo\-..,but aNo of the --i.iise of touch, anific.itii>n of art. Ill this attemi>t architecture i- .ittributed to the sense of touch, sculpture to the seii-e of t.i-te. p.iiiuillj; to the sense of smell, inu-ii- to tile >(.'use of he.irin;;, ,n'd poelr\ to llii' -.iii-c of -'.L;ht. The 11. line of the fortunate d.i>co\erer of t!K--e relations 1^ I-'.rliard, .iiul the elTu^ion in which he .imiouiices them .iii|)e,ired in iSj'i- Hi ^cl .ind \'ischer do not c.irry out consi,ieiitK their ])riiu iple of cl.issitk'.itioii — for tlu \ .i-.>iime, besides the hue .irt^ for eye .md f,ir, a fine art .ilsofor f.mcyand iiiia>.jiii.itioii, ii.imely jux-trv'. Within the third i)riiici)>le of division, the decisive part is playem .Imi ami SnI/i-i h.ivo .KlvccatLii as a lii-t siilvdivisi'iii the wtll-klKAV!; -(.palatioll uf fiTU- art- and fiiK- " -.ricJiCfs " ihtanx arts — liclk-s IcltrLs . tvatir.;,'" li ick till.- fxiiiur to tin; n.tnial smuImiN of that wiiiih i - to !r- ujin -lilted !i -lur.r. In..!', . tuiK-,, and ihi' latter tu artificial or arbitrarv >\iiilii.ls > worii- '. Kant en tlu- other lianl puts in foiUra-iHisitioii tin three means of expression, w.>id. je-lnre and tone, aral Jr.is deduees sjit.ikiiii,^ arts, forniatiw arts, and the .irts of the pia\'of sciuiliieiit. With reL,Mrd t<; the last . .1 the .il>o\ e-nienti one^l ]>rii!cii'ies, a qm stioii arises as touhat is to he eiaisidercil the prototype of the pheiionieiion. Accordiii;^' to Dnhos, the emotion'^ .iiui p.issions .ire f\]iressed in .1 work of art, and the arts are classiiied .lecordin.i; to the iniiiieinateiiess .md \i\aeit\ with whieh the\ reprod ice their .subjects. Mnsic, therefore, stands first, p.iiiuin.u t.ikes ,1 middle ]>osJtioi!, .inrl tlie weakest and most indirect is tile repre- sen'..itioii of the ]iassions in jioetrN. Home, onth.e other h.ui'l, makes the rel.itioii of art to nature tliecriterioii, .Vccordiiiyly he- distui'^iiishes a.n art which mere;\ heaiitities nature ihorticultr.rei, tlieii imitative art- i]..unt;ii- and scnliitnrei, and finally creative ,;rts, tied t.. no n.itural nioiiel (an-hitectnie. poetry and music). Scluliin,: jiropovi.^ a real an.i an ide.il series of ,.rts .iccordiii'.^ as the leaiitv of the phenomenon or the its at cla.ssilication li\- siniiilif\ int: ^ke preliminary s\-.tein. l-hr-il, il is clear that .mioui^r the attributes coiiipreheiide.i in the eon- cej^tioii ot .irt, oidv tli.it of •• .cstlielic impression " h is umier- j.;()ne .1 dilTerentiation. Not a sin}.;le one of the above-mentioned principle- of ^1, >>i!ic,iti(^r, .i;oes b.a k to tile co!;ce]!tion of jiro- duct. Now, We d!stin;4uish ;n the a-sthelic imi)ression two f.ic- tors, the direit .iiid the associative,* of wdiicli the former points 'Couipart niy c-ssay c;:cii ab;nc ; in l':cr!c'ji!tr:,ihrt/t /:■> :t ■■i-'i'rh. I'h%:-'- xxiii, l''>4). 1 I 17 to tlu- sL-iis.-itional si.lc .,f tlu- phciH>iiu-ii.,ii, aiui tin- latti-r tjH.iuls U> the associative factor, .111(1 the fifth expresses the relation hetween the tuo. These three principles not onlv simplify the ori-iiial -.cheiiie. hut .h a c! is-ificatioii accordin.ij to .-esthetic, hut .iccurdiiij,' to technical, or oth.er non- :e-~tliaic i)o;nts of ciew ; ,ind the fact(,rs .d>o\c si-t forth -ive ,( complete p.rim.iry differentiation of the conception of :e,thetic proihict. Coiise(|nentlv the three new j.rinciiile- of division present an exh.iustive list of the j.ossihilities ,.f differentiation whicli .ire to he consi,k-re.l with ropect to tile conception of art m -eiieral. Ti;rnin- now t.. criticism, we mav he-in with the convicti.aith.it we havehefore usall ;esthetic j.rinciples of cl.issi- ficati..n which re.is.iuaMv could he t.iken into aco.unt. f'n first, it is c-le.ir th.it the ,-issoci,iti\ e fictor c -nuot firm the h.isis ,,f ,1 useful cl.is.ification of .irt. J-or in the firs, place them.iuif ,IdnessMftlle])resent,itions, ,,f thesuhjectsof lel.resent.l- tioii. Is so ■■^Tv.a. even in ,,ne ,md the s.iiiie work of art. tli.it the latter ni.iv- have different meanin.<,rs for dilTeretit indixiduiis, .md thus he v.uiouslv ,,>siu-,u.,l to ,,ne or .iiKilher kind of ,irt. .\ -stilMife" i.ictnre mav piescnt ,is its subject f.r .\ .1 senti- ment, tor I! sim].K .1 comhination of <.hjects, for C -eiu-r d i.^rcn.Knt, u-,nain ,uuiivi.k-.i form,, of an. Tlunilv, it one is ■^\\n^^x■d t. ■ tin.l tlu- principk- of ci i-sitication in the .ubj.-cl> ■ .t n-pn-.ntati.m, , ni >u far a. Hkv deal wUh the .anu Mihi.ct, u-ouM nuTue intu a cmnnun cla.>, l-r-anthi^ ,,.,int of view lan.kcape-panUin^^ an,l tlu- poetical .le.enpt.on ot Mvnerv, the historical jncture an.l the plastic ..^ruup lepreseiitui- a h.^tnrieal .vent. „a>..onate inuMC and a livelv dance, w.mld be ,..,„n.ed lo^^nther.' m .'n. .nnceptmn. On this pnncple. Uurefove, tho.e which ,ntr.rall;> l.elon. to:,a-ther are torn apart, ,„d thos,. which should he s,.parated ,,ve con.hined, quite arhi- tr.nlv Schopenhauer, who alone has .itteinpted this classihca- tinn dotsunt shrink from oKordinat'u- architecture and hv.irau- lic.s'an.lheuivc^tol.oth the lowest rank in art, because thev represent idcs ,,f the lowest objectivitv of the will, Mx.-ravuv, InnhK", inobiluv and so on. Siniilarlv, horticulture and lano- scape paintilu.^ animal pamtim^ and animal s,-nlpture are placed si.le bv sid.e.' it nius- be re-^arded as ,.u uiconsistenc v th,.t p.,arv is not mentioned.. Iiuleed wc cannot wonder th.U nuisi- cian.'are m, eullniMastu- fo, Schopenhauer's philos„phv, lor thev r„„l i„ his euriou^ ^vsi.m their own .^rt j.l.iced ,U the summit, beOa,l.e it ess.ivs to picture will itself, the re.ditv of the world. \,, such enthusiasm h..^ been nuuife-ted bv ..rclr.tects. It one ,1„1 ,..,■ knowth.it Schopenhauer .iccordi.i- to his mode ,.t ihiuk- i„„ h.lon^s to the same school of philos„phv as He^el and Scdiellin;;, whom he has so unju-tlv .bused, one nn-ht recowui/e it fr'iiu Ills rl issiticaliou of .irt. ,A) The third princip-le, the rcL.tion between the direct nul the associative fact,.r. phenomenon .md idea, ha. thi-lecided ad- vantage ov.r the ~e:-oiid, tlut It emancipates u.selt IroU, the HU.dUative manifoldness of the ..ssociativ. taUor. Hut cNen h,re some obiectiou ..ris.-s. For, here also niav ..ccur cousi-ler- ,l,le ,nd,vidn...l d.ilYeVeilces with re.L;ar.i to the same work ot .lit. For one the .issociative, for ....other the direct f.icf.r .nay pre- vrl I)..es this, the... necessitate an ..ssionment to Oit^erent \..d secondlv, works belon-iii'.' t" the s.unr ,,rt t\ pe it .u t ! mav be verv .li.7e,e..tl v pl.ced with re.^-ard to their relation Moz.irt has laid more stress on beauty ot h: Mivt nice '9 f'Tin, \V,i,i;tur, nil tlif otluT li.iini.Mii (.■xprcssioii. CDiiscquciitly iim.Mc .>ln):il(l nut ]k- c.ilk-d >ini[)ly a nmiantic art. \Vc fiiui luu' essentially the same ditricultics as with the selection of the a>M>eiative factnr f-ir j)r!iKi!)le ot chissitieation, and they ohvi- on-ly arise just fn, 111 the iianicipalioii of tlii> most individual, ino>t subjective and least coiniireheiisihle moment. Ill It foll.pws from what h.i^ j.receded that onlv Uie direct factor can induce ,i liiffereiitiation of the conception ..f art. In- deed It is the only .ippiicable principle of classification, becui.sc !t .done pri~eiits the objective mediation between the artist and the appreci.itor, vi/. tho-e content- of tile work of .art which are .ip[iro\ini.iteIv equal for e\ervbo(K. In(livite here finds .1 limit -tt to it. The direct f.ictor is the basis and st.irt- m.^-jioint tor .ill preseni.itive activilv, and a i^roiiiid of airree- nietit for .dl diflereiices of opinion. This m.iy be tile re.i.sun win the diirect f.ictor has comp.ir.itiveiv often, in our first scheme in three .l';:Ten lit forms, [daved the decisive lole for the classifi- cation. ("I .Viix.ii.^' these three forms the jiistific itioii of tin first — tile d!\isi. Ill .iccordinir to t''. er>es— must be ackuowledi^ed. bor certaiuK- tlier'- are ai lidi .ippeal exclusivelv to the sen.se -f si>,l,t, au.i others wi h .ipjieal just as exclusivelv to the sense of licirinL,'. I'.ut it is utterly false to include, with Herder, the sense of touch. The function of the sense of tou.di m.iv for blind iHo[,Ie be aesthetic. Smoothm and svmnietry ill the sjMCe coufi^Mir.iti()n liave, throuj^di the -. use of touch, .i pleasant etTect -n their mind. Hut from this to ,m .art coin- pletelv confine.! to this sense .done is ,i lonij step, and under no circnnist.mces slmuld scul;iture be re>,^irded as such an art. The a>.sumj)tiou ..f Herder rests on the theory that onlv the sen.se of touch f -ruishes us with a knowled.i^^e of the third dimension of space. ,in"t-''-'l--""^'''^^-^^'>'' ,:^ d..ctlv, capable of actn>. up„n nna,,naUo„. -- ^.n, ^h Uk ,n.dK.U.n of one- of UK. ..ns.. Hut ncUh.r ..ne,L ^ Hut a supplen,en a Conse- .f ii->l ; for tliere cl ... of nt^ a. we ui„v hnellv call then,, ,> re>iuu ..eart.whkh have an effect on eye and ear at the .une tune. To these helon, dran>a and ,.pera. Thus ^ve have to a.u to the^e two form., of art. a thir.l one. vi/. optK-acou..t,c art. The -econ.l I'oint of view which come Ik- direct f,.ctor. that of phenomen.i o! sjuce ami ,;ece-Mve. or of re.t .iU.i motion, mbined with the tir-t, if U ccption of I time, n{ th' Miui'.lt.ineon- am culd oul% then properlv he CO .vould admit the mtrodncnon of a further di.TereiUK.ion. Hi U,„ >. impossible in the ca.e of acoustic art.^ b verv ^ rt ...idres-ed to the ^ense of he..r.il- eont.nus nece.-ariA a,e ..Itll- i„ne of the Micce^Mve. thu. excluding a purely Muiultancous rallv tlie cise in the opf.c-.icou.tic .irt-. i,,n occur- .li-o 111 optical Thn- lor in.-.lance ucces>ion of ;;ostnre-. ,,„,..,e..,nded....mmdependentart. ,;m U we w. re to adopt thi. st.mdponit. vi/. that of time and -pace relation effect. T!k- same i-n.itur ConverseU. one mav s.iv th.it Micce- .m., but that It iKwuo.li-tinct s-;.^Miit,cance. ,„i„ucrv, which pre-cut- to the eve a for the ncrete duef diviMon. It wonldbe found that for the -"J'^V ;, n " da.smcati.,n ,,ccordin« to the -en>es we ha. -u.titn.o ,„ ..bstract principle which it mi.ht be inipos-ib^ to ,,pp^. thvom.iiou, withont contr.uliction. Hven Us.> sui...ble appea.s ,.,„, the contraposition of rest and movement. U therebvis understood, according to ordm.irv us,.^e, a p,nr ot ciceptions for which the moment of the -p.icid process is e^-enti.i , muMc ..„, poetrv could m.t be cl.,>.iKd at ,dl. One mu-t there,., c .,.i Jn to e.ich a more ab>tr.,ct significance, namelv. tli.U o, the Mnmltaneoiis and -ucccs.ve. or that of the perm.mem aiKt ..n- M, in order to make tliem nniversallv applic.ible. Hut lh.> el assiflcation land- n- in the sam- dnhcultie, a- ha^e been ois- ..:.., 1 ilii.ve (■yi I If the otlu-r h.iiu], in tlu- --ecotidary division, the third [M-iint of view, tli.it of tile means of representation, can he very- well einpl'.ved, as a natural diflPcrentiation of sease impressions. What differentiates paintinv,' from sculpture, in the optic, and inu.^ic from poetrv in the acoii>tic arts, is preci.selv that which separate--., respectively, surf.ices from txxiies anion which serve the other two. We obtain, therefore, the followin^r SNstem : .\. « iptic .irts (appealinj^r to the >ense of sij^dit) : I. Surface arts, producinj,; works on surfaces : a. inuncoloured or monochrome execution : Drawiii"-; i\ in polychrome e.xecutioti : I'aintiii>;. II. Solid arts, prcxiucin;; plastic works : a, in seini-.solid form : Relief and Intaj^dio ; /', \\\ completely solid form : Scul[)ture. HI. .\L,',i;re<^ate arts: combiniii- >urf.iceand pUstic etTects: c. Tectonic ; '1. .\rchitecture. I-;, \coustic .iris (.ippealin^f to the sense of heariu);) : I. .\rt of tones : Music ; II. .\rt of words: IVx'try : III. .■\Rs''i'f},':ite art of tones and words: vocal and nielo- I'.ram.itic music. C. I ipiic-.icoustic arts (appealing to both the h\y\\tx sen.ses) : I. .\rt of s,'estures and tones : Choreo>rr,i[)hic ,irt ; II. .\rt ul i^a-stures, words :in, tones and scenerv : ( )j)er,i. We ma V add to this .scheme a few ob.sen,- itions. Cnder the heading • .\rt of Drawinj-; " we include, as is not unusual n(,w- .ida\s, eii--r,iviiiy and etching, xvloj^raidiy, etc. i.,-. all the .irt.-,, no matter how differenttechnically, the products of wliicii with re^^'ard to the direct factor con.-ist for the observer in An uncol- a 22 ourt.loT ni,,nochu.nKUic.illv lu-alcl Mirfacv. !l ni iv perhaps seem stran^L- lliat wc incln.le niuk-r painting tlic art of making Cnbflins ami lapcstrv luo. Ilu; fruui an ;e-thetica! standpoint, tliat i,~, with reference to the .e-thetic imi.resMon, the Mniilantv of impression with re-ar.l to the .lir.-et factor mnsl be decisive f,,r this dassit^cation. It i- hv no means intended to pieclnde a fnrtlier .lifferentiation of arl^. On the contrary. jn>t where .e-lhetic- end> c(nne> in the d-.vi.lin- activitv, the characteristic of pro,hicti..n, the technical proce.lnre, an.i sul.mit> the con- ceptions of the art- of drawin..;, painting, etc.. to further aiiaivsts. Th.it tectonic art and .irchitectnre cniplov and represent both surfaces anepar.ite unity, scarcely needs exi-lanation. AnticipatuiK, however, a misunderstanding or perhai>- e\en an ntteily incorrei l appr.lK-uM. m of wli.ii is meant bv " a-^:re},'ate art>," we :nay here emphasize the fact th.u not surface and solid .irts are combined in architecture, but that th.e means of expression of -he two kind. ar<- mad ■ to serve a new form of art, which i- a unilv in it.-elf, and not a combina- tion of other arts. < ibjecti./.n ni..v be l.'ken to inclndini,' poetry .imoiiK acoustic ..rt-. I'oetrv mav he read, an.l thus acts only on the eve. lint the direct factor in povti.-al compositions is never the written or printed text, but the audible wor-l. Khvnie and rhythm pla\ no part for the mere reader. I'oe-try prcKlnces its full ifstlietic eflect onlv inaudible recitation. Tlie written or printed text rej-resents here, as in music, only a dir- ection, or a system of represent.itivt svmbols, for the executant, and dic." in .so far .is it aims ,it nn orjj.mic combination of word and tone, ami, tin.iUv. recitation .iceoinpaniea bv music. In the two latter cases the interest nsuallv is concentr.ited more •>r less on one or the otluT ciuk-nt form- of art, nor cm archi- tecture and form, itivc art, with rcj,Mrd to -tai;c sccncr\-. Tlic nu.m- oi rciircscntation, indcpctidcntlv trc.itcti and Ci>inhii;cd in these siui\e whole, in wliich tlie direct f.ictor a.-sumes 'Usider.ihlv more manifold .ispect. It wa> the mi-t,ike of Richard Wa^Mier lo see in the tot,ality of t!ie oj.ei., uiereK- i fusion of tlu- indi- vidual arts, and thus lie h.is iiuilt histluor\i'f the oper.i upon ,m incorrect basis. The position of choreof^raphic ,irt in thi. class is dotibtful. 1-or the acoustic impri-s>i(,u furnishes in ordinary dancinp uurelv .1 reli.ihie marking: of the rhvthm, without claiming,' the siynilicmce of an iudepeudeut. a-stlietic f.ic'or. Hut in the piav of motion which we c.dl d.iucin- we cm scarceh- look for real art. r.intomiuu ,ind b,i:]et oii tlu ,,:lu r h.ni'i .ij.pe.ir alw.iys in combination with .1 uiuMc.d .ucompannmui to which the, be- Innij, .111(1 tii the evolutions of which ihev corres])ond. ( >iii\ in these two h.ive we the red represent. itives of choreo.;r.iphic art. Since the rhythm of moti.ai whicli is essenti.d t(. tluni sc.ircelv exists for the mere visu.d <^bserv.ition, the acoustic ■.upplemeut is iiulispen.s.ible for the sfKcLitor.