Teil i

., Kap. 2 and 3.

2 Cf. Larid, Introduction to Philosophy, pp. 330, 361.

3 For example, that hinted at by Bosanquet in his definition of the beautiful, History of aesthetic, p. 5.

4 Beauty is defined as perfection by P. Souriau, La Beaute rationnelle, 2eme partie.

5 K. Groos argues well against this violent stretching of the word beautiful, Einleitung in die Asthetik, pp. 46 seq.

6 Kant, in developing his idea of beauty as subjective, was probably influenced by Hume, who wrote: ``Beauty is no quality in things themselves; it exists merely in the mind which contemplates them'' (Essays, xxii.).

7 On the nature of these qualities see S. Witasek, Grundzuge der Allgem. Asthetik, p. 11.

8 See J. Cohn; Allgem. Esthetik, P. 96

9 Originally, as pointed out by Home and others, sight was regarded as the sense by which we received impressions of beauty. The recognition of the claims of hearing date back to Plato. (See Bosanquet, Hist. of Aesth. pp. 51-52). For recent discussions of the claims of sight and hearing see article by J. Volkelt, ``Der Aesth. Werth der niederen Sinne,'' in Zeitschrift fur Psych. u. Phys. der Sinnesorgane, vol. xxix. pp. 402 ff.; see also below, Bibliography.

10 Laws, 880 (see Bosanquet, op. cit. p. 54).

11 Plato had a glimpse of the resemblance of art to play (see Bosanquet, op. cit. p. 54). Among modern writers the idea is specially connected with the names of Schiller and Herbert Spencer. In recent works the subject is touched on by S. Wittasek, Grundzuge der allgem. Asthetik, pp. 223 fl.; Bray, Du Beau, pp. 62 ff., and by Rutgers Marshall and others referred to below in Bibliography.

12 Hence to say, as Bosanquet says (op. cit. pp. 3-4), that art is to nature as the scientific conception of the world to that of the ordinary observer, seems wide of the mark.

13 K. Lange goes very far in attributing a practical motive to features of architecture commonly supposed to have aesthetic value, e.g. a regular series of similar forms (Das Wesen der Kunst, Bd. i. pp. 277 ff.).

14 K. Lange thinks that even symmetry probably has a technical origin (op. cit. pp. 283-284).

15 The question of the place of the historical development of art in aesthetic theory is carefully considered by J. Volkelt, System der Asthetik, Bd. i. 5es Kap.

16 See, for example, a little work, The Genesis of Art-From, by G. L. Raymond.

17 Kant, stopping short of an analysis of the beauty of a concrete object, said there were no aesthetic judgments of this universal form see below). On the importance of these inductions see K. H. von Stein, Vorlesungen uber Asthetik (Einleitung).

18 Curiously enough Thomas Reid recognized a germ of aesthetic taste in animals. Essays, Of Taste, ch. v. The aesthetic importance of the observations made on animals is dealt with by L. Bray, Du Beau, pp. 233 ff.

19 See below, and Bosanquet, op. cit. pp. 382 ff.

20 The chief lines of experimental aesthetics are indicated by W. Wundt in his Physiol. Psychologie (5e Auflage), Bd. iii. pp. 142 ff. and 147 ff.

21 On the value of the judgments of experts see K. Groos, Der asth. Genuss, p. 149.

22 Examples of a forcina of the physiological method in aesthetics may be found in the Physiological Aesthetics of Grant Allen, and the Aufgabe der Kunstphysialogie, by Georg Hirsch.

23 These aesthetic prerogatives of the sensations of hearing and sight have been well brought out in the article by J. Volkelt, already referred to.

24 On the later investigations into musical consonance and harmony, harmony of colours, rhythmic and pleasing spatial forms, see Wundt, op..cit. Bd. ii. pp. 419 ff., and iii. 135 g., 140 ff., 147 ff. and 154 ff. Time-form in music is specially discussed by E. Gurney, The Power of Sound, v.

25 K. Lange, who recognizes the influence of nature and custom here denies that proportion is an aesthetic principle (Das Wesen der Kunst, 11es Kap.).

26 Alison and other English Associationists have emphasized the aesthetic importance of the principle of association. Among more recent advocates of it is G. T. Fechner. Vorschule der Asthetik, and O. Kulpe, ``Uber den associativ Factor des asthet. Eindrucks'', Fierteljahrsschrift fur wissensch. Philosophie, xxiii. pp. 145 ff.

27 This idea of imitative hand-movement in contemplating form is supported by K. Groos, Der asth. Genuss, pp. 49 ff.

28 It is commonly spoken of as ``feeling oneself into'' Einfuhlen), or as``sympathetic feeling'' (Mitempfinden.)

29 Lipps theory is developed in a number of works, the chief of which is Asthetik: Psychologie des Schonen und der Kunst, see esp. 1er Theil, 1er to 3er Abschnitt; cf. Paul Stern, Einfuhlung und Association, in which is to be found an historical sketch of the theory, and A. Hildebrand, Form in der bildenden Kunst. The play of imagination in the contemplation of form is discussed also by P. Souriau, L'Esthetique du mouvement, 3eme part., and La Suggestion dans l'art, pp. 300 ff. Cf. works of Karl Groos and K. Lange named below (Bibliography.) .

30 See P. Souriau, La Suggestion dans l'art (1ere partie).

31 Cf. K. Lange, op. cit. lfh. i. p. 208.

32 See a curious passage in Home's Elements of Criticism, chap iv., in which the emotions excited by great and elevated objects are said to express themselves externally by a special inflating inspiration, and by stretching upward and standing ``a-tiptoe'' respectively; also an article on ``Recent Aesthetics', by Vernon Lee in the Quarterly Review, 1904,