A THEORY OF FINE ART. BY JOSEPH TORREY, LATE PROFESSOR OF MORAL AND INTELLECTUAL PHILOSOPHY UNIVERSS Of California. NEW YORK: SCRIBNER, ARMSTRONG, AND COMPANY. 1874. Entered, according to Act of Congress, in the year 1874, by SCRIBNER, ARMstrong, and COMPANY, In the Office of the Librarian of Congress, at Washington. RIVERSIDE, CAMBRIDGE: STEREOTYPED AND PRINTED BY H. O. HOUGHTON AND COMPANY. PREFACE. THE author of the following pages, during nearly the whole period of his connection with the board of instruction in the University of Vermont, was accustomed to deliver lectures to the students on the subject of Fine Art. These lectures were associated with the philosophical studies of the senior year, after the plan pursued in some of the European Universities. Not only was he drawn to the subject by natural taste and inclination, which led him during his visits to Europe to study with much enthusiasm, and with careful attention, the great works of Art contained in the principal galleries of Germany, France, and Italy; but he considered, that, in any comprehensive survey of the powers and energies of the human mind, this important phase of its activity was by no means to be passed over in silence. He may have been impressed, at the same time, with the great importance attached to the subject, in its theoretic aspect, in the Uni versities of Germany, where it has been for many years regarded as forming a legitimate part of a philosophical course of instruction. The lectures were generally regarded by the students as forming a very attractive feature of the senior year. The results of the author's studies and thought on this subject, studies which he continued through his life, are contained in the following pages. It will be seen that the method of treatment is historic in its spirit, and proceeds upon the fact that, in connection with the successive periods of time, there arises also a development in the department of creative power, corresponding with the interests and activities proper to each epoch. The spirit of the work is seen to be historic also, in the presentation and discussion of the views of many writers who have made the subject of Art the theme of special study, and who are entitled to respect, either on account of their experimental acquaintance with Art, or because of the wide range of their genius and knowledge. In preparing the work for the press, the object has been to offer it to the public in the exact form in which it was left. This has been effected, with the exception of some slight and necessary altera tions. The principal work done has been in the verifying of citations and references. The references at the bottom of the page are nearly all by another hand. It is hoped, that, at a time when the subject of Art seems to be awakening new interest everywhere, the present volume may prove a not unacceptable contribution to a view of it which, in this country, at least, has as yet received but little attention. |