Conceptions of the Understanding. - Their Relation to Images
of Sense; To the Logical Understanding. - Spontaneity of the
Imagination in the Production of its Ideal Creations.

-

-

-

The Ideal. Unity and Manifoldness reconciled in the Production
of Ideal Beauty. — Ideal Beauty compared with the Beauty of Na-
ture. The Ideal of Humanity the Central Point for Art. Ob-
jects of Art below and above Man. - The Ideal Representation of
- Of Objects belonging to the Spiritual World.

The Characteristic contrasted with the Ideal. Use of the Char-

acteristic in Art.

External Nature.

-

12!

CHAPTER IX.

THE SUBLIME.

-

-

The Emotion of Sublimity. - How does it differ from the Sentiment

of the Beautiful.-Theory of Burke. Of Ruskin. Sublime

Objects awaken the Consciousness of the Higher Powers of the

Mind.

Allston's Theory of the Sublime. — Of "Imputed Attributes.” -

— Attitude of the Mind in contemplating Sublime Objects. —

Moral Sublimity. — Sublimity in its Relation to Art.

149

CHAPTER X.

DIVISION OF THE ARTS.

Brief Review. - Principle of Division to be sought for in the Rela-

tion between the Ideal and its Possible Modes of Expression. —

Division proposed by Kant. - Criticism of this Method. - Divis-

ion into Symbolic, Classical, and Romantic Art, illustrated in the

Historic Development of the Arts.

CHAPTER XI.

163

ARCHITECTURE.

Position of Architecture among the Fine Arts.

-

Its Power of realiz-

-

ing Ideal Beauty. - Two-fold Object - Use and Beauty. Rela-

tion of the Form to the Material in Architecture.

Origin of this

-

Relation of Sculpture to Architecture. — Limitation to the Human

Figure. Composition in Sculpture. — Equipoise of Form and

Material. — Adapted to the Representation of the Superhuman.

- Distinctive Excellence of Sculpture as an Art. — Its Ideal-

ity. Development of the Art in Greece. Sculpture in Modern

Times.

197

CHAPTER XIII.

PAINTING.

Relation of Painting to Sculpture. The Material employed;

Color; Perspective; Lights and Shades; the Line. — Effects to

be produced by Colors, through Harmony of Combination, and

Local Tints. - Color as a means of Expression. — Peculiar Ad-

vantages of Painting as an Art. Wide Range of Subjects. -

Development of this Art.

-

--

215

CHAPTER XIV.

MUSIC.

-

Music belongs to a New Circle of Arts Music the Basis of Oratory

and Poetry. How distinguished from these. The Material

in Music. --How moulded.-Quantity or Rhythm. —Quality, i. e.

Melody and Harmony. Peculiar Power of Music.

ted with Poetry. -

-

Fragment on Oratory.

CHAPTER XV.

POETRY.

CONCLUSION.

Prominence of Poetry among the Arts.

-

rial. — Language of Poetry, Passionate, Picturesque, Rhythmical.

-

-

Range of Subjects for the Poetic Art. Its Power of gradually
unfolding a Subject. · Relation of Poetry to the other Arts, and

-

-

to the Ultimate Purpose of Art. Divisions of Poetry.
Prospects of Art in the Present Age. Causes of its Decline.
Enjoyment and Appreciation of Art not confined to the Age that
produces it. Advantages of the Present Period for the Critical
Study of Fine Art.

APPENDIX TO CHAPTER III.

THE DIMENSIONS OF SPACE IN THEIR RELATION TO ART.

-

217

Original Significance of the Dimensions of Space. - Measure and
Proportion give the Law to all Art. Importance of this Truth.

-

- History of the Subject. — The Pythagoreans.

Galileo. — Arbitrary naming of the Dimensions in Inorganic

Significance of the Names ex-
plained by Reference to Organic Forms. Dynamic Theory of
Author of "The Physiology of Life.” — Hypothesis of Schel-
ling.

The Primary Dimensions of Space first clearly expressed in the
Human Body; — Relation of the Dimensions to each other. -
Breadth the Lowest and most Matter-like Dimension. — Height
the Principle of Form; Breadth, of Symmetry and Locomotion ;
Depth, of Sensibility and Expression. Discussion of the Theory
contained in "The Physiology of Life."— The Constitutive
Principle is the Soul. - The Soul in Art, as distinguished from,
Formal Proportion, on the one hand, and Ornamentation on the
other. This Element demanded in Art. Relation of Soul to
Body.

Proportion of Form the only Foundation on which Soul
can appear. - Admissions of Ruskin.. Significance of Forms
rooted in the Original Difference in the Dimensions of Space.
Application of these Principles to Music, Oratory, and Poetry. 267

1.

A THEORY OF ART.

I