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. TABLE OF CONTENTS. Province of Art. -Active and Passive Elements in Art. - Possibil- ity of a True Theory of Art, and its Value as a Means of Intel- lectual Discipline. Method of Treatment to be pursued in this Various Theories of the Beautiful. — The Characteristic. - The Promise of Function. - Expression. Multeity in Unity. - Truth in these Theories. - The Author's Theory of the Beauti- Taste a Form of Judgment. — The Object of Taste distinguished from the Agreeable. From the Morally Good. — The Judg. The Standard of Judgment within the Mind itself. — Judgments of Taste distinguished from Moral Judgments; from Sensuous Affections. Impossibility of an Outward Rule. Models: their Proper Use. - Identity of the Principle of Esthetic Judg. Diversity in Taste, Natural and Artificial.- Conventional Stand- ards of Taste. — Cultivation of Taste begins with Cultivation of the Mind generally. — Importance of a Right View of the Im- agination. - Freedom of this Faculty. Its Right Exercise. Idea of Man as the Subject of Art. - Normal and Rational Idea. Impossible to attain its Expression by the Imitation of Models. Interests awakened in connection with the Beautiful. - Interest of Pleasure; of Knowledge; of Vanity or Benevolence; of the that implies Labor. - Art must not be mistaken for Nature, but resemble Nature. Artistic distinguished from Mechanical Skill. Ideality of Art compared with the Truth of Nature. Use of the word Idea. The Idea first manifests itself as a Feeling. Æs- thetic Ideas, distinguished from the Ideas of Reason, and from - |
