/O .ll-.OCj ^ PRINCETON, N. J. ^ Presented by CjV\ £• CA Vy\-W\ o T^, Division ....sw::"U-rf«*...» 6-?/ 5 Digitized by the Internet Archive in 2011 with funding from Princeton Theblogical Seminary Library http://www.archive.org/details/artintheoryintroOOraym Professor Raymond's System of COMPARATIVE /ESTHETICS I. — Art in Theory. 8°, cloth extra $r.75 *' Scores an advance upon the many art-criticisms extant. . . . Twenty brilliant chap- teis, pregnant with suggestion."- — Po/>nliir Sciejtce Monthly. "A well grounded, thoroughly supported, and entirely artistic conception of art that will lead observers to distrust the charlatanism that imposes an idle and superficial mannerism upon the public in place of true beauty and honest workmanship." — The New York Times. " His style is good, and his logic sound, and ... of the greatest possible service to the student of artistic theories." — Art Joiirtial (London). II.— The Representative Significance of Form. 8°, cloth extra. $2.00 "A valuable essay. . . . Professor Raymond goes so deep into causes as to explore the subconscious and the unconscious mind for a solution of his problems, and eloquently to range through the conceptions of religion, science and metaphysics in order to find fixed principles of taste. . . . A highly interesting discussion." — The Scotsman {Y.^\-n\i\\x^\{). _ " Evidently the ripe fruit of years of patient and exhaustive study on the part of a man singularly fitted for his task. It is profound in insight, searching in analysis, broad in spirit, and thoroughly modern in method and sympathy," — The Univcrsnlist Leader. 'Its title gives no intimation to the general reader of its attractiveness for him, or to curious readers of its widely discursive range of interest. ... Its broad range may re- mind one of those scythe-bearing chariots with which the ancient Persians used to mow down hostile files." — The Outlook. III.— Poetry as a Repre|entative Art. 8°, cloth extra . $1.75 " I have read it with pleasure, and a sense of instruction on many points." — Francis Turner Palgrave., Professor of Poetry, Oxford University. II Dieses ganz vortreffliche Werk." — Englische Studien., Universitdt Brnslau. 'An acute, interesting, and brilliant piece of work. ... As a whole the essay deserves unqualified praise." — N, Y. Independejit. • IV.— Painting, Sculpture, and Architecture as Repre^ntative Arts. With 225 illustrations. 8° . . . . Y, ,' $2.50 ^ *• The artist will find in it a wealth of profound and varied learning ; of original, sugges- Uve, helpful thought . . . of absolutely inestimable value." — The Looker-on. "Expression by means of extension or size, . . . shape, . . . regularity in outlines . . . the human body . , . posture, gesture, and movement, . . . are all considered , ^.^ . A specially interesting chapter is the one on color." — Current Literature. 'The whole book is the work of a man of exceptional thoughtfulness, who says what he has to say in a remarkably lucid and direct manner." — Philadelphia Press. v.— The Genesis of Art Form. Fully illu.'^trated. 8° . . $2.25 " In a spirit at once scientific and that of the true artist, he pierces through the mani- festations of art to their sources, and shows the relations, intimate and essential, between painting, sculpture, poetry, music, and architecture. A book that possesses not only sin- gular value, but singular charm." — A^. Y. Times. "A help and a delight. Every aspirant for culture in any of the liberal arts, including music and poetry, will find something in this book to aid him." — Boston Times. ' It is impossible to withhold one'^s admiration from a treatise which exhibits in such a large degree the qualities of philosophic criticism." — Philadelphia Press. VI. — Rhythm and Harmony in Poetry and Music. Together with Music as a Representative Art. 8°, cloth extra . $1.75 " Prof. Raymond has chosen a delightful subject, and he treats it with all the charm of narrative and high thought and profound study." — New Orleans States. ", T*?^ reader must be, indeed, a person either of supernatural stupidity or of marvellous erudition, who does not discover much information in Prof. Raymond^s exhaustive and instructive treatise. From page to page it is full of suggestion." — The Academy (X-or^^oxi). VII.— Proportion and Harmony of Line and Color in Painting, Sculpture, and Architecture. Fully illustrated. 8"^ . $2.50 "Marked by profound thought along lines unfamiliar to most readers and thinkers. . . . When grasped, however, it becomes a source of great enjoyment and exhilaration. ... No critical person can afford to ignore so valuable a contribution to the art-thought of the day."— The A rt Interchange (N. Y.). " One does not need to be a scholar to follow this scholar as he teaches while seeming to entertain, for he docs both." — Burlington Ilawkeve. 'The artist who wishes to penetrate the mysteries of color, the sculptor who desires to cultivate his sense of proportion, or the architect whose ambition is to reach to a high standard will find the work helpful and inspiring." — Boston Transcript. Q.P.PUTNAM'S SONS, New York and London ART IN THEORY AN INTRODUCTION TO THE STUDY OF COMPARATIVE yESTHETIC BY GEORGE LANSING RAYMOND, L.H.D, PROFESSOR OF ^ESTHETICS IN PRINCETON UNIVERSITY 1UTHOR OF "the ORATOr's MANUAL," " THE REPRESENTATIVE SIGNIFICANCE CI FORM, " POETRY AS A REPRESENTATIVE ART," " PAINTING, SCULPTURE, AND ARCHITECTURE AS REPRESENTATIVE ARTS," " THE GENESIS OF ART- FORM," " RHYTHM AND HARMONY IN POETRY AND MUSIC," " PROPORTION AND HARMONY OF LINE AND COLOR IN PAINTING, SCULPTURE, AND ARCHITECTURE,'' ETC. SECOND EDITION REVISED G. P. PUTNAM'S SONS NEW YORK LONDON «7 WEST TWENTY-THIRD STREET 24 BEDFORD STREET, STRAND ^\t f\mtherbotktr ^ress 1909 Copyright, 1894 BY G. P. PUTNAM'S SONS Entered at Stationers' Hall, Londcrn . By G. p. Putnam's Sons Ubc 'Rnfclierbocfecr i^ress, flew l!?orlj PREFACE. A PROMINENT Review, in noticing the first book published of this series, entitled '* Poetry as a Repre- sentative Art," took the, author to task, apparently, for not following exclusively that which he by no means ignored, — the prevailing and popular method of Historic Criticism. Had the critic read the book more carefully, he would have had no difficulty in detecting in the course criticized the result of a deliberate purpose. That historic criticism, in the last few decades, has been of vast benefit to truth and to thought of every kind, no one can deny. But it has its limits ; and there is no region in which, if applied exclusively, it is fitted to do more harm than in that of aesthetics. Holding that all the products of the arts and all the changes in their general conditions and effects are subject to the laws of development, two of its most promi- nent propositions are : first, that art is the expression of the spirit of the age in which it appears ; and, second, that all art, for this reason, is of interest to the artist. Neither proposition is true. If there be anything which, very often, the higher arts are distinctly not, it is the ex- pression of the spirit of their age. Greek architecture of the fourth century before Christ, and Gothic of the thir- teenth after him, may have been this ; although even they were developments of what had been originated long be- fore. But all the unmodified examples of Greek or Gothic IV PREFACE, architecture produced since then — and at certain periods they have abounded to the exclusion of almost every other style of building — have been expressions not of the age in which they were produced, but of that long past age in which their models were produced. The same in principle is true in all the arts. The forms most prevalent in poetry, painting, sculpture, even in music, are always more or less traditional, determined, that is, by the artists of the past. As, in its nature, the traditional is not essen- tially different from the historic, it is doubtful whether these conditions will not continue in the direct degree in which, in the study of art, the historic is made to dominate ; and it is not at all doubtful whether the criticism calling itself historic is not belying its title when, in a proposition such as has just been stated, the historic fact is ignored that forms, which logically ought to develop according to the spirit of an age, very often, owing to a servitude to conventionality that interferes with a free expression of originality, do not so develop. If this first proposition fall to the ground, of course the second must. But there are other reasons why this must be the case. The claim of the historian that all art is of interest and deserving of study is not true as applied to the artist as an artist. To him only such art is of in- terest as has attained a certain high level of excellence, which it is the object of criticism to discover, and which excellence, as we know, has appeared only at certain favored periods. It is worth while to notice, too, as just suggested above, that these periods are not necessarily identical with those that are under the influence of the historic tendency. The effect of this, unless counter- balanced, is to direct attention to forms as forms, not to these as expressions of spirit ; or, if so, only of the spirit PREFACE, V of the past. The practical results of such a tendency are, in the first place^ as already intimated, imitation, and, in the second place, degeneracy. The nature of the mind is such that it must vary somewhat that which it imitates ; and if its variations be not wrought in accordance with the principles underlying the first production of the imi- tated form, the original proportions of the different parts of this as related to one another are not preserved, and the whole is distorted. For this reason, it is fully as im- portant — to say no more — for the artist to continue to work in accordance with the methods of the great masters as to continue to produce the exact kind of work that they did. And if we inquire into these methods, we shall find that, in art as in religion, philosophy, and science, the one fact which distinguishes not only such charac- ters as Socrates, Aristotle, Confucius, Gautama, Paul, Copernicus, and Newton, but also Raphael, Angelo, Titian, Shakespeare, Goethe, Beethoven, and Wagner, is that they have resisted the influences of traditional- ism sufficiently, at least, to be moved as much from within as from without ; as much by their own feeling and thinking as by those of others who have preceded them, and whose works surround them ; as much, there- fore, by that which results from a psychologic method — for we must not forget that there is always a necessary connection between one's method of studying art and of practising it — as by that which follows an historic. In an age when the influence of the latter is so potent that not one in ten seems to be able to detect, even in his own con- ceptions, the essential differences that separate archeology from art, it is well to have emphasized again, as is done in every period when production is at its best, the import- ance of the former, i, e., the psychologic method. Vi PREFACE, So much in explanation of the chief endeavor of this book, which is to get back to the first principles of our subject as revealed in the way in which they manifest themselves in the conditions of mind as related to those of matter. No comment seems to be required here with reference to the somewhat extended consideration in this volume of the different theories concerning beauty ; or with refer- ence to the way in which the conclusion derived from them has been made to meet the prominent requirements of them all ; as well as to explain certain of the character- istics of beauty, like complexity, unity, and variety, and certain also of its effects, both physiological and psychical. Everybody will recognize that the treatment of these subjects was simply essential to the completeness of the discussion in hand. A few words, however, may be in place in order to make more clear the reason for the use of the term representative to express the general effect produced by all the art-forms. This term is not a new one, though it has not previously been applied without more limitation. Nor has it been se- lected in ignorance of the distinction which certain English critics have made between what they call the representa- tive and the presentative arts ; but in the belief that this distinction springs from misapprehension, and in its results involves that tendency to error to which misapprehen- sion always leads. The way in which the term came to be chosen was as follows. In order to simplify the task of art-criticism, it seemed important to search for a single word expressive of an effect, the presence or absence of which in any work should determine the presence or absence in it of artistic excellence. This word represen- tative, without any distortion of its most ordinary mean- PREFACE, Vii ings, was found to meet the requirements. It was found, moreover, that it could be applied to all the art-forms considered in either of the two relations which exhaust all their possibilities ; considered, in other words, either as expressive of thought and feeling in the mind of the artist, or as reproducing by way of imitation things heard or seen in the external world. To illustrate this — and from an art, too, which we are told is merely presentative — let one be listening to an opera of Beethoven or Wag- ner, and desirous of determining the quality of the music as conditioned by its power of expression — how can he do this ? — In no way better than by asking : first, what phase of feeling is the music intended to represent ; and, second, does it represent what is intended. With equal success, he can use the same questions with reference to the story told in a ballad, the characters delineated in a drama, the events depicted in a painting, the ideal typified in a statue, the design embodied in a building. He can apply the same questions, too, to the forms considered as imitations of things heard or seen. Handel's " Pastoral Symphony," and the music of the Forest Scene in Wagner's " Seigfried " express not only certain phases of feeling, but these as influenced by certain surrounding conditions of external nature ; and though, for reasons to be given hereafter, music is the least imitative of the arts, it is not, for this reason, as some have claimed, merely presentative. Such works as have been mentioned must contain at least enough of the imitative element to represent, by way of association, if no more, the supposed surroundings. The same may be affirmed of the accessories or situations in a ballad or a drama ; and of the colors, proportions, or natural methods of adapting means to ends in a painting, a statue, or a building. vlii PREFACE. The term representative, as thus applied, moreover, is appropriate not only in the sense indicated by ordinary usage, but in the specific sense indicated by its etymology. The peculiarity of art, and of all art, is that it not only presents, but literally re-presents ; that is, presents over and over again in like series of movements, metaphors, measures, lines, contours, colors, whatever they may be, both the thoughts which it expresses and the forms through which it expresses them. These facts, however, will be brought out hereafter. They have been mentioned here merely in order to suggest the general conception in which the thoughts of this essay had their origin. That purpose having been accomplished, there is no call for further comment. Princeton, N. J., October, 1893. CONTENTS. PAGE Introduction xix I. Nature and Art i-6 Art a Method — Artlessness and Art Illustrated — Diflfering not as Originality from Imitation — Nor as the Natural from the Unnatural — But as an Immediate Expression of Nature from Mediate or Represented Expression, Art being Nature INIade Human or Nature Re-made by Man — Definitions of Nature, Human, and Re-made — This Definition of Art Applicable Universally — Art-Products, not Creations, but Reproductions of Nature — And also Results of Design which is Distinctively Human — Known to be Art in the Degree in which both Natural and Human Elements in it are Recognizable — Conclusion. II. Form and Significance in Art .... 7-16 The Fine Arts, The Arts, Les Beaux-Arts — These Manifest the Finest and most Distinctive Art-Qualities — Arts Ranked by the Degree in which they most Finely and Distinctively Reproduce Nature : Useful, Operative, Mechanical, Technic, Applied Arts in which the Appearance is Non-Essential ; Ornamental and Esthetic Arts of Design in which the Appearance is Essential — In these Lat- ter, Form is Essential — Forms Modelled upon those of Nature most Finely and Distinctively Reproduce it, and Belong to The Fine Arts or The Arts — Universal Recognition of the Study of Nature as Essential to the Production of these — Forms Addressing and Ex- pressing the Higher Intellectual Nature through Sound and Sight are Finely and Distinctively Human, — So are Forms Attributable to a Man as Distinguished from an Animal — These Forms are such as are Traceable to the Use of the Human Voice — And of the Human Hand — What Arts are the Highest, and their Two Main Characteristics — The Artist, the Artisan, and the Mechanic — Effec- tiveness of the Products of the Former. X CONTENTS. III. PAGE Form and Significance as Antagonistic: Classi- cism AND Romanticism i7~33 The Two Antagonistic Requirements of Art — Mention of the Symbolic — Of the Realistic or Naturalistic — Origin of the Terms Classic and Romantic — Classicism — Its Earlier Influence — Later Tendency toward Imitation — Toward Decline in Music and Poetry — In Painting and Sculpture — Reason of this in Architecture — Revivals in Styles — Romanticism — In it the Idea Supreme — But the Best Results are Developed from Previous Excellence in Form — Tendency of Romanticism in Music — Wagner's Dramatic Effects — Romanticism in Poetry — Whitman — In Painting and Sculpture — Early Christian Art — Beneficial Effects upon Roman- ticism of Classicism — Condition in our own Times — Architecture : Exclusive Classicism Debasing — Exclusive Romanticism Debasing — The Best Periods Manifest Both — Necessity of Considering the Double Character of Art. IV. Art-Forms as Representing rather than Imi- tating Natural Forms .... 34-46 Necessity for Making the Requirements of Form and Significance in Art Seem One — Necessity of Finding a Bond of Unity between the Arts and their Aims — Two Requirements Radically Different — The Results of this upon Theories and Methods — Can the Two Requirements be Made to Seem One ? — The Character of Artistic Reproduction of Natural Forms not merely Imitative : In Music — In Poetry — In Painting, Sculpture, and Architecture — Why Imitation alone is not Sufficient — Art must Reproduce the Effect of Nature upon the Mind — This Done by Representation — Con- nection between this Fact and the Appeal of Art to Imagination — To the Sympathies — In Music — Poetry — Painting, Sculpture, and Architecture — The Artist's Reason for Reproducing the Forms o£ Nature with Accuracy. V. Art-Forms as Representing rather than Com- municating Thought and Feeling . . 47-61 The Second Requirement of Art — The Materials of Artistic Ex- pression — The End of it not to Communicate Thought or Feeling CONTENTS. xi PAGE — Distinct Communication Lacks the Reproduction of Effects of Nature which Art Needs — Art Emphasizes the Natural Factors Used in Expression — Elaboration of Art-Forms Necessitates Repetition — These Constructed by Repeating Like Effects in Music — Poetry — Painting, Sculpture, and Architecture — Repe tition Involves Representation — As Does all Expression, whether Thought Comes from without the Mind — Or from within it — Representation the Method of the Higher Arts — These Represent the Effects of Nature upon the Mind and also of the Mind upon Nature — Connection between this Latter Fact and the Expression in Art of Imagination — And of Personality — Why Art Elaborates Expressional Methods — Artistic Uses of Nature as Revealing Personality and Suggesting God — Art Creative — Possibly so in a very Deep Sense — The Divine Faculty. VI. Representation of Natural Appearances as In- volving THAT OF THE MiND .... 62-68 Further Explanations Needed — Two Ways of Showing a Similar Method Involved in Representation of Nature and of Mind — Line of Thought to be Pursued in the Two Following Chapters — Limitations of the Natural Appearances Used in Human Art as Distinguished from Animal Possibilities — Its Development from Vocal Sounds must Call Attention to their Agency in Expressing Thought and Feeling Irrespective of Ulterior Material Ends — The Same True of its Development from Objects of Sight Constructed by the Hand — Connection between these Facts and Leaving the Materials of Art Unchanged from the Conditions in which they Appear in Nature. VII. The Art-Impulse 69-80 Art-Products not Planned to Obtain Material Ends are Due to Play rather than Work — Concurrence of Opinions of the First Authorities on this Subject — Views of Schiller and Spencer — Errors in Views of the Latter — Imitation the only Invariable Characteristic of Play — Excess of Life-Force as Indicated in the Activity behind the Play- Impulse — Life-Force behind the Art-Impulse may be Mental and Spiritual — Philosophic Warrants for Ascribing Art to Inspiration— Xll CONTENTS. PAGE Art Consciously Gives Material Embodiment to that whid as its Source in Subconscious Mental Action — Practical Wan ant for Ascribing Art-Effects to Inspiration. VIII. Representation of the Mind as Involving that OF Natural Appearances .... 81-96 Connection between the Art-Impulse and Imitation of Natural Appearances — A Utilitarian Desire to Produce Something Fitted to Attract Attention as a Mode of Expression not the Reason for Art-Imitation — But Charm or Beauty in the Object Imitated, which has had an Effect upon Desire — What Forms of Nature made Human Reproduce these Beautiful Effects? — Natural Intonations and Articulations of the Voice as Developed into Music and Poetry — Natural Marking, Shaping, and Combining by the Hands as Developed into Painting, Sculpture, and Architecture — Connection between an Expression and an External Product — Both Essential to Art in Music — In Poetry — In the Painting and Sculpture of Figures — Of Still Life — The only Explanation of the Existence of these Arts — Architecture Apparently both Useful and ^Esthetic — So are All Arts— rArchitecture as Representing Man — As Repre- senting Nature — Its Further Possibilities in the Latter Direction — Not Separated in Principle from the Other Arts. IX. The Higher as Distinguished from other Repre- sentative Arts 97-105 Other Representative Arts besides those already Considered — Elocution, Pantomime, Dancing, Costuming, Jewelry, Personal Adornment, and Dramatic Art — These do not Necessitate a Product External to the Artist — Oratory Necessitates neither this nor an End Different from One of Utility — Decorative Art, Landscape Gardening, and Artistic Phases of Civil Engineering have less Possibilities of Expression — Yet All these are Allied to the Higher Arts and Fulfil the Same Principles — What is Meant by the Humanities ? — Phonetic and Plastic Art — Esthetic — Vagueness of these Distinctions — Appropriateness of the Term Representative — The Terms : Arts of Form, Beaux Arts, Fine Arts, Belles Lettres ; The Higher, The Higher Esthetic, and The Higher Repre- sentative Arts. CONTENTS, Xlll X. PAGB Representation in Art as Determined by Nat- ural Appearances : Theories Concerning Beauty 106-122 Form as Manifested in Nature and Reproduced in Art — Charac- teristically Possesses Beauty — This should Predominate over the Ugly, but Need not Exclude it — The Distinction sometimes Drawn between Beauty and Expression — Necessity for a Definition of Beauty — The Three General Views with Reference to it — Mention of Writers Conditioning it upon Form — Of Writers Con- ditioning it upon Expression Traceable to Man — To a Source above the Man — The German Idealists — Mention of Writers Con- ditioning Beauty partly upon Form and partly upon Expression — The Term Beauty as ordinarily Used Indicates a Truth in All Three Theories, so far as they do not Exclude the Truth in the Others — Beauty may be in Form aside from that in Expression — It may be in Expression aside from that in Form — But Beauty is Complete only in the Degree in which that of Form and of Expression are Combined. XI. Beauty as Absolute, Relative ; Objective, Sub- jective, etc. 123-130 The Term Beauty as Used by the Foremost Authorities Indicates the Same as its Ordinary Use Noticed in the Last Chapter — Mention of Writers who Consider Beauty Relative — Of those who Distinguish Relative, Natural, Derived, or Dependent Beauty from that which is Essential, Divine, Typical, Absolute, Intrinsic, Free, etc. — Distinction between Relative and Absolute Beauty the most Common — All these Distinctions Imply an Appeal to the Senses through Forms and to the Mind through Suggestions — Beauty as Objective and Subjective — Mention of Writers Con- sidering it Objective : these Claim it to be Recognized through its Subjective Effects — Mention of Writers Considering it Subjective : these do not Deny its Origin in Forms Considered by them Objective — They, too, Mean that Beauty must be Judged by its Effects — Mention of Other Writers Holding Unequivocably that Beauty is both Objective and Subjective. XIV CONTENTS, XII. PAGB Beauty the Result of Harmony of Effects, Physical and Mental .... 131-147 Results of our Review of Different Theories — The Term Effects and its Suggestions — Illustrations of Beauty as Attributable to Effects upon the Senses and the Mind and Both — As Incomplete because Attributable to Effects upon the Senses and not the Mind, or upon the Mind and not the Senses — Complexity of Effects thus Suggested as Essential to Beauty — Connection between this and our Present Line of Thought — Complexity of Effects Essential to the Beauty of Single Sounds, Lines, and Colors — Much more in Combinations of these in Art-Products — Besides Complexity, Va- riety, Unity, and the Phase of the Latter Termed Harmony of Effects Necessary to Beauty — Harmony of Tone Explained — Of Color — The Relations of Both to Vibratory Action upon the Acoustic or Optic Nerves — Harmony of Effects as Produced in Rhythm and Proportion — Some Sense-Effects Entering into Har- mony are Produced without Conscious Action of the Mind, but Some are not — Thought and Emotion as Determined according to Physiological Psychology, by Vibratory Action upon Nerves of Hearing, Sight, and the Whole Brain — But Thought and Emotion, Spontaneous or not Conveyed through the Senses, may also De- termine Hearing and Sight — Effects Causing Beauty in this Case are Produced in the Mind — Facts with Reference to Vibratory Action in Connection with all Conscious Sensation should not be Ignored, but Need not be Solved in an Esthetic System — Sufficient Data for this Obtained by Accepting Effects in their Ascertainable Conditions. XIII. Further Considerations Showing Beauty to Re- sult FROM Mental as well as from Physi- cal Effects 148-160 End in View in this Discussion — Complexity of Effects can be Recognized only through Mental Analysis — A Form Conjured by Imagination Coincident with Every Form Appealing to the Senses —This Fact Illustrated in the Case of Music— Of Poetry— Of the Arts of Sight — Harmony of Effects as Produced within the Mind CONTENTS. XV PAGE Means Likeness of Effects — Between Effects upon the Ear and Mind as in Music and Poetry — Between Effects upon the Eye and Mind as in Painting, Sculpture, and Architecture — Between Effects of Different Elements of Significance as Appealing to Recollection, Association, and Suggestion in All the Arts — Ad- ditional Methods of Showing the Presence of Mental Effects — Effects Operating Harmoniously upon the Senses, not Harmo- nizing with those upon the Mind — Effects not Operating Har- moniously upon the Senses Harmonizing with those upon the Mind — These Facts Necessitate Including Mental Effects with those of Beauty — But Complete Beauty Demands Harmony of both Physical and Mental Effects — Significance as well as Form an Element of Beauty. XIV. Beauty Defined : Taste 161-171 Recapitulation — Definition of Beauty — Limitations of the Defi- nition — Relation of the Beautiful to the Sublime, the Brilliant, and the Picturesque — Applies to Appearances in both Nature and Art — In both Time and Space — What the Definition necessarily Leaves Unexplained ; and how in this System this is to be Remedied — All Effects of Beauty Developed from the Principle of Putting Like with Like — This Principle as Applied by the Artist in Accordance with the Action of the Mind in Other Analogous Matters — As Exemplified in Art in Accordance with Effects as Manifested in Nature — This Conception of Beauty and its Sources Solves the Question as to whether Art can be merely Imitative or merely Expressive — Taste — Correspondence of its Action to that of Conscience and Judgment — Standards of Taste. XV. The Definition of Beauty tested by its Accord WITH the Conceptions of Others . , 172-184 How the Definition of Beauty in the Last Chapter Accords with the Theory Considering Beauty as an Effect, Including the Con- ceptions of Shine and Splendor — As Harmony — One in the Manifold, or Unity in Variety — Perfection — Utility — The Good, th^ XVI CONTENTS. PAGE True — As an Effect of Association — As Symbolic — As Identical with Life or Vital Force — With Emotive Force or Love — With an Appeal to the Sympathies, or of Personality — Truth of these Latter Views, as also of the Theory of Association — The Platonic and Aristotelian Theories again — Limitations of each — Difficulty of Finding a Basis of Agreement upon which to Reconcile them — The Method Pursued in this Discussion will do this — The Play- Impulse Tending to Imitation Indicates Effects from Within and also from Without — Natural Forms Affecting the Mind Indicate Effects both Formal and Mental — In what Regard each of the Theories is True — Each is Defective in so far as it Excludes the Truth in the Other. XVI. Representation in Art as Developed by Mental Conditions ; Considered Historically . 185-195 Introduction — Effects of Appearances upon the Mind are Inclusive both of Forms and of Principles of Formation — And are Produced both upon the Senses and upon the Thoughts and Feelings — The Three Inseparable Objects of Consideration in the Present Inquiry — Order of Development in the Modes of Expression — As Sur- mised from Prehistoric Records Rationally Interpreted — As Shown from Historic Records — In the Lives of Individuals among Animals — Among Men — Also in the Influence upon Expression of Some One Event or Series of Events in the Individual's Experience — Physical Thrill, and Vocal Expression Leading to Music — Definite Opinions, and Verbal Expression Leading to Poetry — Conflicting Opinions Leading to Oratory — Contemplation of Facts as they Appear Leading to Painting and Sculpture — Planning and Re- arranging Leading to Architecture. XVII. Representation in Art as Developed by Mental Conditions ; Considered Physiologically 196-202 Conditions of Natural Influence and States of Consciousness as Rep- resented in each Art — Ideas in the Mind and the Influence from ^Vithout Compared to Ic? and to Currents Flowing into an Inlet— CONTENTS, xvii PAGE The Condition Corresponding to Music, Poetry, Painting, Sculp- ture, and Architecture — This Comparison Corresponds to Physical Facts, Large Vibrations of the Nerves Causing Sounds, Small ' Vibrations Causing Colors — Largest Nerve Movement Exerted in Connection with Music, Less with Poetry, Less with the Colors of Painting, and Least with the less Brilliant Colors of Sculpture and Architecture — Our Nerves are directly Conscious of the Vibrations of Sounds, as in Thunder, but not of those of Color — This Fact as Applied Mythologically and Medicinally. XVIII. Representation in Art as Developed by Mental Conditions; Considered Psychologically 203-216 Mental Facts are in Accord with what has Preceded — Inarticulate Cries Representative of Suddenly Excited Emotions — Why these Cries are Intelligible — Association and Comparison — Emotion Co- extensive with Consciousness — Music the Language of the Emotions — The Indefiniteness of its Effect — Its Degree of Definiteness — Gives Direction to Sentiment with the Least Limitation to Freedom — Musical Ideas — Observation of Natural Forms and Experience of Human Sentiments are both Conditions Underlying Musical Composition — Influence from Without and Ideas Within in Poetry — The Function of Intelligence — Influences and Ideas Made One by an Exercise of Comparison — Association and Comparison at the Basis of Words and of the Forms of Language and Poetry. XIX. Representation in Art as Developed by Mental Conditions ; Considered Psychologically (Continued) ..... 217-228 Definite Conceptions in Opposition to the Influence from Without, Lead to the Distinguishing of the One from the Other — Persuasion and Oratory — How Differing from Poetry and Fine Art — In the latter, the Influences from Without and from the Ideas suggest Contrast — Rendering Necessary an External Medium of Represen- tation — Bearing of this subject upon Poetic Descriptions — Render- ing necessary also a Stationary Medium — Landscape Gardening — Painting — Sculpture, Representing less of Nature and more of xviii CONTENTS, PAGB Ideas within the Mind — Therefore Offering more Resistance to the Motive from Without — Architecture Represents the Will, in that it is still less Influenced by Natural Forms — In the Latter Regard Architecture Resembles Music — For an Opposite Reason, Poetry, Painting, and Sculpture are between these Extremes — Completeness of this Analysis of the Arts in Accordance with their Development from Representative Effects. XX. Further Conditions Underlying the Representa- tion OF Thought in Each of the Arts . 229-243 Further Conditions from which to Draw Inferences with Reference to the Particular Form of the Mode of Representation — Recapitu- lation — Association — Comparison and Contrast as Related to the Work of Imagination — Audible Expression as Representative of the Instinctive Tendency — Development of this in Music and Poetry — Visible Expression as Developed in Painting, Sculpture, and Archi- tecture Representative of the Reflective Tendency — Methods in Art-Composition Confirming these Statements — Instinctive and Reflective Tendencies both Present together in all Art that is Emo- tive, or Manifests Soul — Something both of the Instinctive and Reflective must be Represented in each Art — Music as Subjective, Poetry, Painting, and Sculpture as Relative, and Architecture as Subjective — All the Highest Art is both Subjective and Relative, i. languages, xxxv-vi. Classicism, as related to conceptions of beauty, no — to imitations of art-forms and subjects, 20, no. Classification, 118; basis of art as of science, 166-168. Claude Lorraine, 23, 39, 154. Coleridge, S. T., 12, 38, 115, 152, 175, 179. Color, beauty ascribed to, 120, 133, 136, 163 ; complementary, 139, 140 ; effects of, recognized by the mind as well as senses, 149 ; har- mony of, 133, 136, 1 39-141 ; tone 139. Combined, as applied to use of natural appearances in art, 3. Communication of thought or feel- ing, not the object of art, 47-61. Comparison, the method of, as underlying representation in art, 205, 206, 212-216, 218 ; con- trasted with association, 205, 206, 227, 228, 230 ; its function in the formation of words, 214-216 — in oratory, 218 — in poetry, 205, 212-216 ; its relation to associa- tion, 205, 206, 227, 228, 230 — to contrast, 219, 220, 230, 231 — to imagination, 57, 230, 231, Complementary colors, 139, 140. Complexity, as an element of beauty, 12, 134-137, 247, 248 ; producing effects of harmony upon the mind, 142-147, 149, 150, 154, 247, 248— upon mind and organs of eye and ear, 156-160 — upon organs of eye and ear, 138-142 — in poetry, 152. Composite Architecture, 31. Composition, in art, 51-54, 88-96; table of its methods, 165. Contrast, and ugliness, as elements of beauty, 107-109, 157, 158; consciousness of, as a factor in art, 217-228 — between ideas and in- INDEX. 273 fluence from without, in landscape gardening, 223 — in arts of sight, especially painting, 222, 224 ; its relation to comparison, 219, 220, 230, 231 — to imagination, 230, 231. Cook, F., 79. Copernicus, Preface v. Corinthian Architecture, 26, 31. Corot, II. Correggio, 23. Coster, G. H. de, 175. Costuming, as an art, 98, 99. Coupland, W. C, 151, 180. CoursdeBelles-Lettres, Batteux, iii. Coursd'Esthetique, Jouffroy, 70, 115, 179. Cousin, v., 114, 175. Crazy Jane, Architectural Style, 25. Creation, no such thing, in art, 3. Creative, The, in art, 59-61, Critical Exposition of Hegel's yEsthe- tics, Kedney, 37, 50, 163. Criticism, Historic, Preface iii-v ; Essay on, Pope, 154. Critic of Judgment, Kant, 70, 109, 115-120, 129, 130, 150, 174. Crousaz, J. P. de, 124, 174. Curve, why beautiful, 136. Cushman, C, 158. Dallas, E. S., 34, 35, 70, 180. Dancing as an art, 15, 98, 99, loi, 142. Dante, 23. Darwin, C, 71, II3, 119, 178. Darwin, E., 71, 178. Das Wesen und die Formen der Poesie, Carriere, 116. David, II. Day, H. N,, 93. De Apto et Pulchro, Augustine, 114. De Architectura, Vitruvius, iii. Decoration, or Decorative Art, 15, 100-104, 242 ; of China and Japan, 27. De rUniversalite du Beau et de la Maniere de 1' Entendre, De Quin- cy, 114, 175. De Quincy, A. C. Q., 114, 175. Descent of Man, The, Darwin, 71, 113. 178. Description in Poetry should be illus- trative, not botanic or topographi- cal, 221. Deserted Village, 155. Design, 5,6; arts of, 9. Design, Lectures on, Opie, 15, 192. De Socratische School, Van Hensde, 115. Dessin, Grammaire des Arts du, Blanc, 118, 129. Devil, tormenting St. Anthony, 4. Dewey, J., 117. Dictionnaire des Sciences des Lettres et des Arts, 8. Diderot, D., iii, 124, 127. Die Lehre von der Tonempfindungen, etc., Helmholtz, 113. Die Welt als Wille und Vorstellung, Schopenhauer, 70, 114. Discours, De Quincy, 114, 175. Discourses before the Royal Aca- demy, Reynolds, 4 ; on Beauty, Blackie, 115 ; on Painting, Rey- nolds, 38, 39, 223, 226. Divine, The, faculty, 61 ; in art, 59-61. Dobell, S., 175. Doric Architecture, 26, 31. Drama, The English, 20. Dramatic Art, breadth of range, 98, 99 ; effects of Browning, Hugo, and Wagner, 27, 28 ; why not ranked with highest arts, 98, 99, loi, 102. Dramatics, 15, 99. Dramatizing in sports of children, 72, 73. Drawing, School of, 8. Dreams, 60, 144. Du Beau dans la Nature, I'Art et la Poesie, Pictet, 70, 114. Du Bos, Abbe, 7, 238. Durand, D., 108. Du Vrai, du Beau et du Bien, Cou- sin, 114, 175. Dwight, J. S., 207, 210. Ear, aesthetic effects on. See Senses. Ecole des Beaux-Arts, 8. Effective, art, when most, 16. 274 ART IN THEORY. Effects, art inspiration, as judged by, 78-80; beauty, judged by, 130, 132-134, 172, 173 ; combination and number of, measures the aesthetic influence, 160, 247, 248 ; emotive, are strongest in music, weakest in architecture, 200-202 ; harmony of, in beauty, 161, 162, 246-248 ; harmony between formal and mental, 153-155 ; of, beauty, experienced in the mind, 144 ; of harmony, how produced in the mind, 153-156 ; of mind upon nature, necessary to art, 51, 56-61, 62 ; and of nature upon the mind, 41, 42, 56-62 ; of natural appear- ances exerted upon the mind, 185, 186 ; what meant by harmony of mental, 153 ; unity of, 137. Effect, the criterion of art excellence, 78-80, 235. Egyptian art, 18, 29. Ejaculatory utterance, 205. Elaboration of form in art, its , method, 51-54, 59, 240, 241. Element de I'Esthetique Generale, De Coster, 175, Elements of Criticism, Karnes, 120, 124, 128, 176. Ellis, 22. Elocution, 14, 242 ; why not a higher art, 98, 99, loi. Elzheimer, 39. Emeric-David, iii, 127. Emilius, P., 79. Emotions, continuous, and underly- ing all expression, 206, 207 ; in- fluence of, upon music, poetry, and oratory, 219 ; most influenced and influencing in music, 200-202 ; music, the language of the, 207- 212, 234. See Feelings and Ex- pression. Emotions, The, McCosh, 119. Emotive Force, as an element of beauty, 162, T78 ; its tendency in all art is to combine the instinctive and reflective, 233, 234 ; giving expression to soul, 234. Encyclopedie, iii, 124. End of material utility not that of art, 66. English, classic literature, 27, 28 ; painting, 30 — termed literary, 30. Engraving, School of, 8, Enoch Arden, 155. Essai sur le Beau, Andre, 124. Essay or Essays, on Art, Palgrave, 119; on Beauty, Jeffrey, 113, 177; on Criticism, Pope, 154 ; on Some Subjects Connected with Taste, Mackenzie, 172 ; on Taste, ( ierard, 174, 176 ; Shenstone, 174 ; on the Beautiful, the Picturesque, and the Sublime, MacVicar, 109, 130, 159, 175 ; on the Fine Arts, Coleridge, 12, 115 — Hazlitt, 112 ; on the In- tellectual Powers, Reid, 119, 128 ; on the Nature and Principles of Taste, Alison, 113, 177; on the Origin and Function of Music, Spencer, 238: on the Sublime, and Beautiful, Burke, 70, iii, 162 ; on Truth, Beattie, 176 ; Specula- tive and Suggestive, Symonds, 119. Esthetique, Cours d', Jouffroy, 70, 115, 179 ; Ele'ments d', Generale, De Coster, 175 ; L'Esthetique, Veron, 71, 129 ; Les Problemes de r, Contemporaine, Guyau, 75, 178. Ethics, Prolegomena to. Green, 117. Euripides, 79. Excess of energy, the source of art, 75, 76, 85, 86. ^ Execution versus invention in paint- ing, 31. Expressional factors emphasized in art, 50, 51, 58, 59, 85, 86. Expression, at variance with beauty, 109, 159 ; beauty of, its meaning, 153 — its existence, 108, 109, 121 ; connected with use of an external product, 87-96 ; in art, 47-61, 64, 1 51-160 ; in connection with imi- tation, 3, 36, 82, 167, 168 ; in ro- mantic architecture, 25 ; in sym- bolic and romantic art, 18 ; of thought and feeling, 14, 16, 17, 63, 81-96 ; representative, 55 ; tabulated, 242, 243 ; tested, in what way, Preface vii. See Sig- nificance. INDEX, 275 External medium of representation, why necessary in arts of sight, 222 ; product, necessary to the concep- tion of the highest arts, 87-92, 98, 99. Eye, aesthetic effects on. See Senses. Faerie Queen, 22, 155, Faust, Gounod, 26. Fechner, G. T., 116. Feeling, as conjured by imagination in connection with sense-percep- tion, 150-152, 156-160 ; deter- mined by vibrations of nerves, 145- 147, 245-248 ; expression of, 15, 17, 47-61, 81-96. See Emotions, Emotive, and Expression. Fergusson, J., 22, 93, 102 176. Fielding, H., 1 1. Figurative, earliest expression of definite thought, 195 ; the lan- guage of poetry, 193, 212-216, why used, 212, 214. Fine Arts, and Their Uses, Bellars, 112 ; The, Brown, 72 — Coleridge, 12, 115— Hazlitt, 112. Fitting, the, as an element of beauty, 176, 177. Flock, H. G. A. L., 112, 127. Force, as related to art, 242. Form and Sound, Purdie, 113. Form, 9 ; as developed in each art by repetition, 52-54 ; as devel- oped into an external product, 88- 96 ; as developed out of an ob- jective mode of expression, 94 ; as emphasized in classic art, 18, and in realistic 19 ; beauty ascribed to, 110-113, 120, 133, 134 ; beauty denied to, 120 ; beauty of, recognized by the mind, 142, 149, 150; conjured in the mind by imagination in connection with some like form perceived without, 150, 151 ; even when beautiful in self, may not seem so on account of effects upon the mind, 156-158 ; imitating other art-forms, 21 ; in art influenced by the action of the mind upon nature, 186, 187 ; also determined by natural principles of formation, 94, 183 ; in music, treated by Wagner, 26 ; in poetry as influenced by natural expression, 212 ; natural appearances not the first source of imitation in, 183 ; not always determined in art by the form in which it comes from nature, 186, 187; theory of beauty as pertaining to it, 111-113, 120, 121 ; vs. significance, xli-xlviii. See Appearances. Franklin, B., 79. Freedom of thought in connection with music, and all art, 207-210. French, northern architecture of, 155 ; painting, its technique, 30. Frothingham, E., 107. Fuseli, H., 38, 120, 174. Gardener's Daughter, The, 155. Gautama, Preface v. Gay Science, The, Dallas, 34, 70,180. Gerard, A., 174, 176. Gertrude of Wyoming, 155. Geschichte der bildenden Kiinste, Schnaase, 174 ; der Kunst des Alterthums, Winckelmann, 120. 173. Gilpin, W., Ill, 127. Gioberti, V., 70, 178. Gluck, 22. Goethe, Preface v, 11, 23, 27, 118, 155 Goldsmith, O., 155. Good, The, as the beautiful, 176. Gothic architecture. Preface iii, 20- 22, 24, 26 ; cathedrals, imitation of, 24. Gounod, 26. Gout, Voltaire, iii. Grace, 163. Grammaire des Arts du Dessin, Blanc, 118, 129. Grant, U. S., 212, 220. Grecian architecture, Preface iii, 24, 31. Greece, 21, 29, 30. Greek art, 19, 21, 154 ; artists, 224 ; statues, 225. Green, T. H., 117. Guido, II. Guyau, J. M., 75, 178, 276 ART IN THEORY. Half-Hour Lectures on the History and Practice of the Fine and Ornamental Arts, Scott, 175. Hamilton, Sir W., 70, 119, 129, 176. Hamlet, 53. Handbook of Psychology, Baldwin, 117, 246. Handel, Preface vii, 44. Hands, art developed from use of, 13-15. 65, 85-87 ; as distinguish- ing man from animal, 13-15. Harmonices Mundi, Kepler, 173, Harmony, general, as the source of beauty. 127, 131-162, 173, 174, 246-248 ; of effects, as produced on the mind, 153-156 — and caus- ing beauty when form in itself not beautiful, 156 ; the product of likeness in effects, 1 38-141, 153, 164-168 ; musical, what its cause, 137-141, 138-140; of color, 139- 141 ; of rhythm and proportion, 141. See Beauty. Hartmann, E. von, 70, 118, 129, 151, 173, 180, 181. Haweis, H. R., 37, 40. Hay, D. R., 112, 119, 127, 174. Haydn, 22, 26. Hazlitt, W., 112. Hegel, G. W.F., 18, 37, 50, 60, 115, 130, 163, 178, 179. Helmholtz, H. L. F. von, 113, 127. Henry Vin., 43, 80. Hensde, P. W. van, 115. Herbart, J. F., 116. Heredity, as manifested in the play- impulse, 73. Hermann und Dorothea, 155, Het Wezen der Kennis, Opzoomer, 173. Historic Criticism, its deficiencies as applied to art, Preface iii-vi. History, of Esthetic, Bosanquet, 117, 130, 174 ; of Architecture, Fergusson, 102, 176 ; of Modern Architecture, Fergusson, 22, 93. Hogarth, W., II, 174. Holbein, 80. Holmes-Forbes, A. W., 176. Home, Lord Kames, 120,124,128,176 Homer, 23, 253, 255, 264, 366, Homeric gods, 4. How They Brought the Good News from Ghent, 158. Human, art is nature made, 3, 5, 6, 8, 12-14 ; being, as distinguished from animal, 12-14, 64-66 ; mind in art, 3, 5. Humanities, The, loi, 102. Humanity, the beautiful, the mirror of, 179. Humbolt, W. von, 204. Hume, D., 129. Humming, as the beginning of mu- sic, 84. Hutcheson, F., 118, 124, 174. Hypnotism, 61, 78, 144-147. Ice, as influenced by waves flowing into an outlet or bay compared, at different stages, to different rela- tions between ideas and motives tending to expression in each of the arts, 197-200. Idea or Ideal of the beautiful indwelling in mind, 35, 181; world, the, 60, 61. Idealists, the German, 115 ; their view of art, 181. Ideality in sculpture, 225. Ideas, as emphasized in naturalistic or realistic art, 19 — in symbolic and romantic art, 18 ; as expressed in each of the arts, 229-230 ; as imitated in classic art, 21 ; how those in the mind are related to influence exerted from without in architecture, 199, 226-228, 234 — in music, 198, 206-211, 221, 222, 234 — in painting, 198, 199, 219- 226, 234 — in poetry, 198, 2ir-2i6, 220-222, 234 — in sculpture, 198, 225, 226, 234. Idyls of the King, 155. Imagination, appeal to it in art, 43, 57; as calling up thoughts and feel- ings interfering with beautiful effects of beautiful forms, 156- 160 ; as conjuring a mental form in connection with a form per- ceived by the senses, 150 ; in music, 151 ; in poetry, 152 ; as causing beauty, 180 ; defined, 57, 230; exercised in art-construction, INDEX, 277 57, 90; involving association com- parison and contrast (which see), 230 ; how modifying effects of nature, 187 ; work of, in science and art, xxxiv-xl. Imitation, according to Aristotle, 262-267 ; to Plato, 250-260; caus- ing art-degeneracy, v, 23 ; of nature, as a factor of mental ex- pression, 31, 36, 82, 167, 168 ; as related to theories of beauty, no; as the aim of art, 37-46, 63, 64, 67, 167, 168 ; as the ex- pression of the play-impulse, 73, 82 ; evidences of it early in the history of the race, 188 ; and in the life of the individual, 190 ; of art-forms in classic art, 18, 21, no; and in architecture, Preface iii-v, 32 ; of nature in architecture, 38, 43-45, 94-96, 227 ; in music. Preface vi, vii, 37, 38, 40, 41 , 43, 44, 89, 227, 228 — why slight in both, 240, 241 ; in painting, 38-40, 43, 45 — why accurate in this, 46 ; in poetry, 38, 43, 45 ; in sculpture, 38-40, 45 ; in the arts of sight as compared together, 91-93 ; reasons for it in art, 46, 73, 74, 82, 83. Imitative method, 128 ; sounds, 205 ; developing into language, 214-216. Imitators, 23. Immobility, as related to art, 241, 242. Impressionist School, 31. Impulse, The art-, 63, 69-80, 82 ; leading to imitation, 73 ; the play-, 71, 77, 82. Inarticulate utterance, as in music, how representative, 205, 207. Influence or Influx from natural appearances, as affecting mental expression ac- cording to forms of the different arts, 197-200. See Motive. In Memoriam, 45. Inquiry into the Original of our Ideas of Beauty and Virtue, Hutcheson, 118, 124, 174. Inspiration, 60, 61 ; Coleridge's test of Biblical, 179; conception of, as judged by its effects, 79, 80 ; scien- tific warrant for belief in, 76-80. Instinct, natural, 2. Instinctive tendency, 3 ; as con- trasted with reflective, 231-233 ; as influencing architecture, paint- ing, and sculpture, 234 ; in poetry, 232, 234 ; in music, 231, 232, 235. Intellectual, Influence of Music, D wight, 207, 210 ; Powers, Reid, 119, 128. Intelligence, its relation to com- parison, 212 ; poetry the language of, 212. Intelligibility of expression, art representation does not increase it, 48, 49- Intonations, as developed in art, 84, 85. Introduction to Philosophy, Ladd, 177. Intuition, beauty a direct, 128, 129. Invention, 3, and execution, 31. Ionic architecture, 31. Italian scenery, 155 ; flag, 133. Italy, art of, 21. Japan, decorative art of, 27. Jeffrey, F., 113, 124,177. Jewelry, art of, 98, 99. Jouffroy, T., 70, 115, 178. Journal Intime, Amiel, 1 14. Julius Caesar, 53. Jungmann, J., 124, 130, 173. Karnes, Lord, 120, 124, 128,176. Kant, I., 70, 109, 115, 120, 129, 130, 150, 151. 163, 173. Keats, 26, 155. Kedney, J. S., 37, 50, 130, 163. Kepler, 173. Keynote, 52. Kneller, 22. Knight, W., 7, 127. Krause, K. C. F., 175. Kritik der Urtheilskraft, Kant, 70, 109, 115, 120, 129, 130, 150, 174. Kunst der, des Alterthums, Winckel- mann, 120, 173. Kunste, Allgemeine Theorie der Schonen, Sulzer, in, 175; Ge- schichte der bildenden, Schnaase, 174. 278 AJ^T IN THEORY. Kunsten, Theorie van Schoone, en Wetenschappen, Van Alphen, 70, 124, 175. Ladd, G. T., 117, 177. Lamb, C, 38. Landscape-Gardening, 15 ; as an art, its rank, 100, loi ; its place in the order of development of the arts, 223 ; relation in it of influences from without and of ideas in the mind, 223 ; representative, loi, 223, 240. Language, as a result of association and comparison, 21^-216 ; of the emotions, music, 207-212. Laocoon, Lessing, 107, iii, 186, 220, 224. La Science du Beau. Leveque, 115. La Vite di Pittori, Scultori et Archi- tetti Moderni, Bellori, 114. Lear, King, 45. Lectures by the Royal Academicians on Design, Opie, 15, 192 ; and on Painting, Fuseli, 3, 38, 120, 174 ; on Metaphysics, Hamilton, 70, 119, 176 ; on the Philosophy of the Human Mind, Brown, 113, 177. Leibnitz, G. W., 70, 173. Les Beaux-Arts, Batteux, ill. Les Problemes de I'Esthetique Con- temporaine, Guyau, 75, 178. Lessing, G. E., 107, ill, 186, 220, 224. L'Esthetique, Veron, 71, 129. Letteratura e Arti Belle, Rosmini- Serbati, 115, 130. Leveque, C, 115. L'Idee du Beau dans la Philosophie de Saint Thomas d'Aquin, Vallet, 118, 127, 173, 175. Life-force, excess of, as the source of 3-J't, 73-75 I vital or emotive, as the source of beauty, 173, 174. Light of Nature Pursued, Tucker, 70, 128. Like effects or Likeness, as the source of harmony, 138-141, 153, 164-168 ; how pro- duced in the mmd, 153-155 ; in the mind and senses together, 164- 168 ; in the senses, 138-141 ; occa- sioning beauty, 161-184, 246-248 ; occasioning unity and other al- lied requirements of art composi- tion, 137-142, 164, 165. See Har- mony and Beauty. Lincoln Cathedral, sculpture in, 20. Lines, when beautiful, 135. London Times, a critic in, 206, 207. Longfellow, H, W., 41. Long, S. P., 4, 112, 127. Lotze, R. H., 117, 246. Love, dramatic expression of, 27. Macbeth, play, 53 ; portrait of Lady, 158. Mackenzie, Sir G. S., 172. MacVicar, J. G., 109, 130, 159, 175. Man, as distinguished from animal, 12-14, 65-67, 72, 73, 84. Marshall, 246. Materialists, view of beauty, 182. Materials of art, 3. Mathematics, study of, xxxv, xxxvi. Matter as related to art. Preface vi, 242. McCosh, J., 119. Mechanic, The, versus artisan and artist, 16. Mechanical arts, 9. Mediaeval art, 25, Meg Merrilies, 157. Meier, F., 175, Meistersinger, The, Wagner, 26. Melodies, 26. Melody, 52. Mendelssohn, M., 70. Mental, 3. See Mind. Mental and Moral Science, Bain, 71. Merchant of Venice, 53, 190. Mesmerism, 144. See Hypnotism. Metaphysics, Lectures on, Hamil- ton, 70, 119, 176, Metaphysik des Schonen und Aes- thetik, Schopenhauer, 114. Method, Art a, 1-3, 242. Metre, 52, 53. Milton, 23. Miltonic angels, 4. INDEX, 279 Mind, an appeal to it necessary in art, II, 12, 14-16, 41, 43-46; an expression of it necessary in art, 47-61, 64, 151-160; as related to art. Preface vi, 242 ; as a source of sense-beauty in form, 142, 144- 147 ; beauty of form as recognized by, 134, 142, 144 ; effects upon, needed for complete effects of beauty, 148-162, 184 ; human, 3, 6 (see Man) ; representation of, involving that of natural appear- ances, 3, 36, 81-96, 167, 168 ; subconscious, 70 ; vibratory action of nerves as related to, 142-147, 200, 245-248. Minnesingers, 20. Miscellaneous Reflections, Shaftes- bury, 118, 174. Modern Painters, Ruskin, 15, 39, 70, 119, 130, 177. Moorish Architecture, 155. Moralist, The, a Philosophic Rhap- sody, Shaftesbury, 118. Moralities, The, 20. Morals, Review of the Principal Questions of, Price, 112, 127. Morland, ii. Morgenstunden, Mendelssohn, 70. Motive inciting ideas within the mind to expression in art, differ- ence between that inciting to paint- ing and to poetry, 220, 221 ; dif- ferent relations between ideas and influences from without in each art, 197-200 ; how related in archi- tecture, 199, 226-228, 234 ; in music, 198, 206-211, 221, 222, 225, 226, 234 ; in painting, 198, 199, 219-226, 234 ; in poetry, 198, 211-216, 220, 221, 234 ; in sculp- ture, 198, 225, 226, 234. Miiller, Max, 204. Music and Morals, Haweis, 37, Music, art of appreciation and pro- duction of, by the young, 170, 171 ; association underlying its form of representation, 205-207, 210,211,230; compared to speech, 236-238 ; correspondence to archi- tecture, 94, 227, 228, 240, 241 ; early forms of it, 189 ; developed through repetition, 52 ; effects upon the mind, 49, 151, 152, 158, 207-212 — and upon action, 207- 212 — and upon both the mind and senses, 158 ; Greek, 251-253 ; de- veloped from voice, 84, 89, 240 ; expression of the inarticulate and indefinite, 193, 204-211, 231 ; and of the emotions, 207-212, 234 ; and of ideas, 210 ; expressing sym- bolically the employment of heav- en, 209 ; harmony in, 138, 139 ; ideas of the mind in, as related to influence from without, 198, 206- 211 ; imitation in. Preface vi, vii, 37, 38, 40-45, 89, 227, 228 — why slight, 240, 241 ; influence of, indefinite, 193, 204-211 — definite, 208, 210 — physical, 200-202 — yet leaving the mind free, 207-210 ; in what sense an external product, 88, 89 ; intellectual influence of, 207-212 ; instinctive tendency ex- pressed in, 231, 232, 235 ; its forms derived from speech, 238 ; lan- guage of the emotions, 207-212 ; mental condition underlying, 193, 204-211 ; natural, 5 ; objective, 235 ; of the spheres, 145 ; repre- sentative, not merely presentative. Preface vii, 40-45, 103, 210, 211, 237, 238 ; spontaneous action of the mind in, 235-237 ; subjective, 234, 235 ; sustained character of its tones, 235-237 ; treatment of subject in, 52, 240, 241 ; used medicinally, 201, 202. Music, Essay on the Intellectual In- fluence of, Dwight, 207, 210 ; on the Origin and Functions of, Spencer, 238. Musical beauty of sounds, 135; tones, as distinguished from those of speech, 237, 238 ; scale, 52. Mystery Plays, 20. Natural, 2, 6 ; beauty, definition of, 163, 164, 166-167. Natural Theology of Natural Beauty, Tyrwhitt, 119. Naturalism in art, or the natural- istic, 18, 19. 28o ART IN THEORY, Nature, its contribution to art, 64, 65, 84-88 ; its forms as influen- cing mental expression in each of the arts, 196-200 (see Motive) ; its forms not of more interest to the artist than principles of forma- tion, 186 ; made human in art, 4- 6, 8, 10, 17 ; reproduced in art, i, 4, 5, 6, 10, II, 15, 67 ; use of its forms in architecture, 38, 43-45, 94-96, 104, 227, 240, 241 ; in music, Preface vi, vii, 37, 38, 40- 45, 89, 103, 227, 228, 240, 241 ; in poetry, 38, 43-45, 103, 104 ; in painting, 38-40,43-45, 90-92, 103, 104 ; in sculpture, 38-40, 43-45, 54, 103, 104 ; study of it necessary to the artist, 10, 11, 15, 24 ; what it means, 3 ; when most effective, 16. Nature, light of, pursued, Tucker, 70, 128 ; Principes de la, Leibnitz, 173. Nederlandsche Aesthetik, van Vloten, 118, 174, 178. Nervebattery, 145, 146; vibrationsof, 143-147, 200, 201, 203, 245-248. Newton, I., Preface v. Niobe, group of, 107, 154. Objective, character of all art effects, 235 ; beauty as, 126-130. Observation in art, xxii-xxix. Of the Standard of Taste, Hume, 129. Old man's chorus in Faust, 26. One in the manifold, essential to beauty, 127, 174. On the Beautiful, the Picturesque, and the Sublime, MacVicar, 109, 130, 159. 175. On a possibility of a Science of /Esthetics, Sully, 168. Operative arts, 9. Opie, J., 15, 192. Opzoomer, C. W., 173. Oratory as an art, 14, 99-102 ; as contrasted with poetry, 218 ; men- tal condition underlying, 193, 194, 218 ; needs cultivation, 218 ; order of its development, psychologically, between poetry and painting, 201, 218 ; representative, 100, 21S ; why not a highest art, 99, lOO. Oriental scenery, 155. Original, art as, 2 ; beauty as, 125, 126. Ornamental arts, 9, 10. Outlines of ^Esthetics, Lotze, 117, 246. Pacchierotti, 78. Painting, Art of, contrast between the ideas in its artist's mind and the natural appearances occasion- ing them underlying its represen- tation of thought, 219, 220, 222, 224, 225, 241 ; developed from expression through the use of the hand, 85-87 ; earliest traces of, in history, 188, 189 — in youth, 191, 192 ; developed from expression through the use of all the body, 91, 92 ; difference between its motive and method, and those of poetry, 220-221 ; difference be- tween its motive and that of sculp- ture, 225, 226 ; form in, how de- veloped, 90-92 ; ideas in its artist's mind as related to influence from without it, ig8, 199, 219-221, 234, 235 ; imitation in, 38-40, 43, 45 — why accurate, 46 ; instinctive tendency expressed in, 234 ; men- tal conditions underlying, 194, 219-222 ; objective, 235 ; rank of different styles of, 225, 226 ; rela- tion of, to pantomime, 91, 92 ; responsive, 239, 240 ; representa- tive, 43, 45, 90-92, 103, 104, 239, 240 ; reflective tendency expressed in, 232, 234 ; relative, 234 ; signifi- cance in, xl-xlviii ; unsustained condition of expression, 239-240. Painting, Discourses on, Reynolds, 38, 39, 223, 226 ; Lectures on, Fuseli, 3, 38, 120, 174. Palgrave, F. T,, 11, 119. Pantomime, 15, 218, 242 ; as an art, 98, 99 ; its relation to painting, 91. Parker, H. W., 75. Partial tones in musical notes, 138. Pastoral Symphony, Handel, Pref- ace vii, 44 ; Beethoven, 44. Paul, Preface v. Pedantry in art, 21. INDEX, 28 Peinture. See Reflexions. Perfection, beauty as, 175. Personality, beauty as, 179 ; expres- sion of, in art, 58, 59. Perugino, 26. Phidias, 79. Philosophical Essays, Stewart, 70, 119, 120. Philosophic des Unbewussten, von Hartmann, 70, 118, 151. Philosophy, Introduction to, Ladd, 177 ; of Art, Taine, 108 ; of the Beautiful, Knight, 7, 127 ; of the Human Mind, Brown, 113, 177 ; of the Unconscious, von Hart- mann, 70, 118, 151. Phonetic Arts, 102. Physiological ^Esthetics, Allen, 71, 113. Physiologische Psychologic, Grund- ziige der, Wundt, 246. Pictet, A., 70, 114. Picture, as resulting from hearing a story, 187. Picturesque, as distinguished from the sublime and brilliant, 162-163. Picturesque, Three Essays on, Gil- pin, III. See Beautiful. Pitch, 52. Plastic arts, 102. Plato, 35, 126. 127, 174, 180, 249-260 Platonic, 115, 180, 184; and Aris- totelian, 180-184, 255, 265, 267. Platonists, 59, no, 114, 126, 162, 182, 184, 255, 265, 267. Play-Impulse, 77 ; developing musi- cal and poetic form, 85 ; and veritable works of art, 76. See Art-Impulse. Pleasure, as the source of aesthetic effects, 70, 245. Plotinus, 114. Poesie, Das Wesen und die Formen der, Carriere, 116. Poetry and Prose in Art, Palgrave, II, 119. Poetry, art of, as appealing to the mind, 152 ; as contrasted with oratory, 218; beauty of thought in, source of, 152 ; comparison, as underlying its form of representa- tion, 212-216 ; composition in, 52-54 ; complexity of effects in. 152 — of both thought and form, 158, 159 ; developed from use of voice, 85 — from speech, 237, 238 ; difference between its motive and that of painting, 219-221 ; early traces of, in history, 189 — in youth, 191, 192 ; expression of definite thought, 193, 211 ; ideas in its composer's mind, as relat- ed to influence from without, 198, 211-216, 220, 221, 234; imitation of nature in, 38, 43, 45 ; instinc- tive tendency expressed in, 232, 234 ; in what sense an external product, 90 ; language of intelli- gence, 212 — mental condition un- derlying, 193, 211-216, 220, 221 ; Plato's views of, 249-25 1, 253-255; representative. Preface vii, 43-45 f 103, 104, 237, 238 ; relative rather than subjective, 234 ; reflective ten- dency expressed in, 231, 233, 234 ; responsive, 236 ; school of, 8 ; subjective, 234 ; unsustained, 236- 238 ; treatment as a whole, 54. Poetry as a Representative Art, Raymond, 104, 220, 233, 238. Pointed architecture, 31. Pope, A,, 154. Populaire aesthetische Beshouwin- gen, etc.. Flock, 112. Poussins, 39. Poynter, E. J., 119. Presentative Art, not an accurate term. Preface vi, 40-45, 103. Price, R., 112, 127. Principes de la Nature, Leibnitz, 173. Principles of Psychology, Spencer, 71. 113. Proclus, 114 ; of Cousin, 114. Products, 3, 8 ; external, essential to the highest art, 87-92, 98, 99. Prolegomena to Ethics, Green, 117. Proportion, 141, 142, 168; beauty of, 120, 127; sense of, xxx. Proportion, or the Geometric Prin- ciples of Beauty, Hay, 112. Psychologic und Hauptpunkte der Metaphysik, Herbart, Il6. 282 ART IN THEORY. Psychology, Dewey, 117 ; Hand- book of, Baldwin, 117, 245, 246; Principles of, Spencer, 71, 113 ; article in Encyclopedia Britan- nica. Ward, 246. Purdie, T., 113. Pythagoras, 145, 173. Queen Anne Style of Architecture, 25. Quilter, H., 178. Quincy, de, A. C. Q., 114, 175, Raphael, Preface v, 23, 26, 30, 39, 108, 159. Real existences, the subjects of art- reproduction, 4. Realism and Idealism, Symonds, 119. Realistic art, 18, 19. Reality, compared to dream life, 60. Reapplied, natural effects in art, 3, 5. Rearranged, natural appearances in art, 3, 5. Recent Conversations in a Studio, Story, 39, 186, Recherches sur I'Art Statuaire, etc. !Emeric-David, iii. Recombined, natural appearances in art, 3, 5. Reflective tendency in expression, as contrasted with instinctive, 205, 231-233. Reflexions Critique sur la Poesie et la Peinture, Du Bos, 7, 238 ; et Menus-Propos d'un Peintre Gene- vois, etc., Topffer, 114. Reformation, The, influence of, on art, 20. Regularity, interfering with effects of beauty, 109, 159. Reid, Thomas, 119, 128. Relative beauty, 123-126. Religion and art, xx, xxi, xxxii-li. Remade, as applied to use of natural appearances in art, 3-5. Rembrandt, 39. Renaissance, the, effect of, on art, 21,155. Repetition, themethodof elaborating form in each art, vii, viii, 51-54. Representation, of mind involving that of natural appearances, and vice versa, 81-96 ; the method of elaborating form in each art, Preface vii, viii, 3, 4, 51-54. See Representative, Representative, art is this rather than presentative, Preface vi-viii, 40-45, 103, 104 — rather than imi- tative, 42-46, 62, 63, 167, 168 — rather than communicative, 54-63 ; earliest tendency to this form of art in history of the race, 188-190 — in life of the individual 190- 192 ; expression made this by application of the principle of association, 205-208, 210, 211, 227, 228 — of comparison, 205, 206, 212-216, 218, 227, 228, 230, 231 — by means of inarticulate intona- tions, 44, 84, 204, 207 ; of both mind and nature, 56, 237-240 ; the arts rightly named this, and their different classes. Preface vi- viii, 56, 97-105 ; the term shown to apply to effects or methods of architecture, 43, 94-96, 104, 239, 240 — of landscape gardening, loi, 223 — of music. Preface vi, vii, 40-45, 103, 210, 211, 237, 238— of oratory, 100, 218 — of painting, 43, 45, 90-92, 103, 104, 239, 240 — of poetry, Preface vii, 43-45, 90, 103, 104, 237, 238 — of sculp- ture, 43, 45, 54, 103, 104, 239, 240. Reproduced, as applied to use of natural appearances in art, 5, 46. Reshaped, as applied to use of natu- ral appearances in art, 3, 5. Review of the Principal Questions of Morals, Price, 112, 127. Reynolds, Sir J., 4, 22, 38, 39, 41, 223, 226. Rhetoric, as an art, 99-101, 218. Rhyme, 152; its characteristic feat- ure, 52. Rhythm, 152, 165 ; its characteristic feature, 52, 141, 142, Robbers, The, Schiller, 27. Robert Burns, Tyler, 178. INDEX. 283 Romanesque, architecture, 31 ; na- tions, 20. Romanticism, as related to theories of beauty, no. Romantic tendency in art, as con- trasted with the classic, 17-33. Rome, 21. Rosa, Salvator, 4, 39. Rosmini-Serbati, A,, 115, 130. Rubens, 23, 39, Ruskin, J., 15, 39, 70, 119, 130, 176, Ruysdael, 154. Salvator, 39. Sargent, 158. Sartor Resartus, Carlyle, 177. Schelling, F. W. J., 70, 115, 130. Schiller, F. von, 23, 27, 71, 118. Schlegel, F. von, 175, 177. Schnaase, K. J. F., 174. Schonen, Allgemeine Theorie der, Kunste, Solger, in, 175 ; An- fangsgriinde der, Wissenschaften, Meier, 175. Schone, Ueber das, Bergmann, 129. School of Painting, Sculpture, and Music, French, 8. Schopenhauer, A., 69, 114, 118. Science and art, xx-xxiii, xxxii-1. Science and Thought, Miiller, 204. Science of Esthetics, Day, 93 ; of Beauty, Holmes-Forbes, 176 ; as Developed in Nature and Applied in Art, Hay, 174. Scotch bagpipe, 133 ; plaid, 133. Scotchman, 133. Scott, SirW., 23, 28; W. B., 175. Sculpture, as expressing will, 226 ; composition in, 54 ; contrasted with painting, 225, 226 ; developed from use of hands, 85-87, go-92 ; from expression through the use of body, go-92 ; early develop- ment of , 189; ideality and imita- tion in, 225 ; ideas in its artist's mind as related to influence from without, 198, 225, 226, 234, 235, 241 ; instinctive, 234 ; imitation in, 38-40, 45 ; mental condition underlying, 194, 225, 226 ; repre- sentative, 43, 45, 54, 103, 104, 239, 240 ; reflective, 232-334 ; relative, 234 ; school of, 8 ; thought in, as distinguished from that in architecture, 239. Sensation and Intuition, Studies in Psychology and /Esthetics, Sully, 71, 124, 173. Senses, The, art not appealing to the lower, taste, touch, and smell, but only to the eye or ear, 12, 42, 103 ; beauty as an effect produced on, 71, 111-113, 129, 132-147, 151, 161, 162 ; but not wholly produced on, 151-153, 156-159, 161, 162, 170 ; why the blind or deaf cannot imagine sights or sounds, 146. Sententiae Artis, Quilter, 178. Shaftesbury, Lord, 118, 174. Shakespeare, v, xxvi, 11, 22, 23, 28, 41, 43, 45, 53, 190. Shape, beauty ascribed to, and de- nied to, 120, 133. Shenstone, W., 174. Siegfried, Preface, vii, 26, 43, 44. Sight, arts of, 12. Significance, as antagonistic to form in art, 17-33 ; ^.s entering into the effect of beauty, 108, 109. 113- ii6, 121, 122, 133, 134, 151-160, 245, ; as essential to effects of art, 47-61 ; in inarticulate intonations, 205-248 ; harmony of effects be- tween it and form, 151-155 — be- tween different elements of it, 154; vs. form, xli-xlviii. Signes Inconditionnels de I'Art, De Superville, 112. Sistine Chapel, 79. Smell, sense of, 12. Socrates, Preface v. Soldiers' chorus, Faust, 26. Solger, U. W. F., 113, 177. Soul, what is meant by expression of, 234 ; connection between this and the instinctive, reflective, and emo- tive, 234. Sound, arts of, 12 ; complex when beautiful, 135. Space as the medium of representa- tion in painting, sculpture, and architecture, 222, 241, 242. Speech as developing into music, 236-238. 284 ART IN THEORY, Spencer, H., 71, 73, 113, 238. Spenser, E., 22. Spieltrieb, 71. Spirit of Beauty, The, Parker, 75. Spirit, as expressed in art, 59-61 ; as existing apart from the body, 146. Stael, Madame de, 227. St. Agnes' Eve, Keats, 155. Standards of Taste, 169-171 ; why no conventional ones are accepted as are those of conscience and judgment, 170, 171. Star-Spangled Banner, 152. Statuaire. See Recherches. Stewart, D., 70, 119, 120. Story, W. W., 39, 186. St. Peter's, Rome, 79. Styles of Architecture, 24. Subconscious mind, 70, 77, 78. Subjective, beauty, 126-130 ; expres- sion in different arts, 234, 235. Suggestion in art, xlviii-1. Sully, J., 71, 124, 168, 173. Sulzer, J. G., iii, 127, 175. Superville, H. de, 112, 127. Sustained tones, as in music, 236-238. Symbolic tendency in art, 18 ; as a characteristic of beauty, 177. Symington, A. J., 115. Symmetry, 127, 142. Symonds, J. A., 119. Sympathies, appeal of art to the, 44, 58 ; as an element of beauty, 179, 180. System, der Aesthetik als Wissen- schaft von der Idee des Schonen, Weisse, 130 ; der Aesthetik, Krause, 175. Taine, H., 108. Talking tones, as distinguished from musical, 237, 238. Tannhauser, 152. Taste, aesthetic, 169-171 ; cultiva- tion of, 169, 170; standards of, 127 ; standards of, not made con- ventional and accepted like those of conscience and judgment, 169, 170 ; why the lower sense of taste is not exercised or addressed in the higher arts, 12. Taste, Essays on, Gerard, 174, 176; Shenstone, 174; Voltaire, ill ; Nature and Principles of, Alison, 113. 177 I some subjects connected with, Mackenzie, 172 ; standard of, Hume, 129. Technique, painters who care only for, 30. Teniers, 23. Ten Lectures on Art, Poynter, 119. Tennyson, xxvi, 26, 45. Terry, Ellen, portrait of, 158, The Beautiful and the Sublime, Kedney, 130. The Beautiful in Nature, Art, and Life, Symington, 115. The Genesis of Art-Form, Raymond, 155, 164. The Gentle Art of Making Enemies, Whistler, 112. The Light of Nature Pursued, Tucker, 70, 128. The Moralist, a Philosophic Rhap- sody, Shaftesbury, 118. Theorie van Schoone Kunsten en Wetenschappen, von Alphen, 70, 124, 175. Theory of Fine Art, Torrey, 177. Theory of the Beautiful, Todhunter, 178. The Sublime and Beautiful, Burke, 70, III, 162. Thought, as conjured by imagina- tion in connection with sense- perception, 150-152, 156-160; expression of, in art, 14, 16, 17, 47-61, 81-96 ; in music and poetry, 151, 152 ; in the mind, as determined by vibrations, 143- 147 ; inseparably connected with words, 204, 206. See Expression and Significance. Thoughts on Art, Philosophy, and Religion, Dobell, 175. Three Essays on the Picturesque, Gilpin, III. Time, as the medium of representa- tion in music and poetry, 222, 241, 242. Titian, Preface, v, 23, 39. Todhunter, J., 178. INDEX. 285 Tone, beauty of, 163 ; complex, when beautiful, 135 ; harmony of, how caused, 137-142 ; partial and prime, 138 ; significance of, as applied to painting, 139. Topffer, R., 114. Torrey, J., 177. Touch, sense of, why not exercised, or addressed, in higher arts, 12. Traditionalism in art, Preface v. Traite du Beau, de Crousaz, 124, 174; Traite des Verites Premieres, Buffier, 124. Transport, arts of, 242. Trattato del Bello, Gioberti, 70, 178. Tristan und Isolde, 26, 27. Troubadours, 20. True, The, as the beautiful, 176, 177. Truth, Essay on, Beattie, 176. Tyler, S., 178. Typical Forms and Special Ends in Creation, McCosh, 119. Tyrwhitt, St. J., 119. Ueber das Schone, Bergmann, 129. Ugliness in art, 108. Unconscious nature or intelligence, 70, 77, 78. Unities, The Greek law of the, 155 Unity, Bond of, between all the arts, 34-36, 62 ; in variety, as the source of beauty, 127, 136, 137, 162, 164, 165, 168, 174, 175, 245 ; as the source of harmony, or likeness of effects, 136-137, 162, 164, 165. Unnatural, The, not artistic, 2, 5, 67. Unsustained tones, as used in speech, as distinguished from music, 236- 238, 243 ; corresponding tendency of expression in painting and sculpture, 238, 239. Upholstery, as an art, 98. Useful arts, 9, 10. Utility, 9 ; in the sense of adapta- bility, essential to beauty, 176 ; material, not the aim of art, 66, 69, 82, 85-87, 89, 90, 92 ; the influence of in architecture, 93. Vallet, P. 118, 127, 173, 175. Variety, Unity in, the source of beauty, 127, 136, 137, 162, 164, 165, 168, 174, 175, 245 ; necessary to dramatic effects, 27. Veron, E., 71, 129. Vibratory theory of sound and color, 138-140; as related to aesthetics, 146 ; largest waves and prof oundest influence upon emotions in music ; smallest waves and least influence in architecture, 200-202 ; origin of the effects of beauty in the senses and the mind, 138-141, 143-147, 245-248. Vicksburg, 212, 220 . Virgil, 23. Vischer, F. T., 115, 116, 179. Visible expression, 242. Vitruvius, Pollio M., iii, 127, 174. Vloten, J. van, 118, 174, 178. Vocal organs as distinguishing man from animals, 13, 65. Voice, use of, underlying music and poetry, 14, 47, 65, 84. Voices of the Night, 41. Voltaire, iii, 127. Vorlesungen uber Aesthetik, Solger, 113, 177- Vorschule der Aesthetik, Fechner, 116. Wagner, Preface v, vii, 22, 26-28, 43, 152. Wagnerian opera, 160. Wahrheit und Dichtung, ii. Ward, 246. Waterloo, 212, 220. Waves, at different stages of progress influencing the ice in a bay, com- pared to the different relations be- tween motive and ideas tending to expression in each of the arts, 197- 200. See Vibratory Theory. Webster, N., 42, 55. Weisse, C. H., 130, Wellington, 212, 220. Wells Cathedral, 20. Werther, Sorrows of, 27. Whistler, J. M., 112. Whitman, Walt, 28, 29. Wilson, 39. 286 ART IN THEORY. Winckelmann, J. J., 120, 173. Words, as results of mental asso- ciation and comparison, 214- 216 ; inseparably connected with thought, 204, 206 ; outward signs of internal moods, 107 ; their use in poetry as indicative of ideas actually stored in the mind, 220, 221. Wordsworth, 23, 28. Works of art, i ; may be due to a play-impulse, 76. Wundt, W. 246. Yankee Doodle, 152. Yellow Book, xxix. Zeising, A., 113, 118, 127, 246. Zoonomia, E. Darwin, 71, 176. POEMS BY PROF. GEO. L. RAYMOND A Life in Song. i6°, cloth extra, gilt top .... $1.25 " Mr. Raymond is a poet, with all that the name implies. 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