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CONTENTS.
CHAPTER I.
NATURE, ART, AND FINE ART.
PAGE
1-15 ✓
Introduction-Art is a Method-Artlessness and Art Illustrated-
Differing Not as Originality from Imitation, nor as the Natural
from the Unnatural-But as an Immediate Expression of Natural
Instinct from that of Human Intelligence-Art-Products Not
Creations but Rearrangements of Nature-And also Results
that are Distinctively Human-The Fine or Higher Arts-
Distinguished from Others by Belonging Most Finely and Dis-
tinctively to Nature-Therefore Emphasising Natural Appear-
ances-Form Essential to the Higher Arts-Different Classes of
these-Study of Nature Essential to Success in Producing them
—Arts that are Most Finely and Distinctively Human Address and
Express Intellect through Sound or Sight-Human as Distinguished
from Animal-Expression as Developed from Possession of Human
Vocal Organs and Hands-The Higher Arts are also in the Most
Fine and Distinctive Sense Made-How to Class Landscape-
Gardening, Decoration, Dancing, Pantomime, Elocution, and
Dramatics-The Humanities---External Products Necessitated in
Music-Poetry-Painting and Sculpture—And in Architecture.
There are Certain Limitations in the Sights and Sounds, the
Thoughts and Emotions, and the External Products with which Art
Has to Deal―The Sights and Sounds must Have Interest, Charm,
Beauty-Beauty as Attributed to Form as Form-To Form as an
Expression of Thoughts or Emotions-To Both these Sources Com-
bined-Examples-Complexity of Effect Characteristic of Beauty
-In Sounds-In Lines and Colours-Besides Complexity, Har-
mony of Effect upon the Senses is Essential in Beauty; Produced
through Like or Related Vibrations in Tones and Colours-
Through Like or Related Divisions of Time or Space in Rhythm
and Proportion-Unity of Effect upon the Brain Necessary to
Beauty-Mind Affected Irrespective of the Senses-Senses Affected
from the Mind-side-Complexity even in Form Recognised and
Analysed by the Mind—Imagination Frames an Image as a
Standard of Beauty-Mind is, therefore, Affected and Active when
Beauty is Recognised, Exemplified in Music-In Poetry-In Arts
of Sight-What is Meant by Harmony of Effects upon the Mind
in Music or Poetry-In Arts of Sight-Further Remarks on Com-
plexity and Unity-Definition of Beauty-What it Leaves Unex-
plained-Applies to Natural as well as to Artistic Forms-To Arts
of Sound as well as of Sight-Relation of this Definition to Other
Definitions-Taste-Its Cultivation.
CHAPTER III.
ARTISTIC MENTAL ACTION, AS DISTINGUISHED FROM
THAT IN RELIGION AND SCIENCE
39-58
That which is Expressed in Art-The Play-Impulse as Described
by Schiller, Spenser, Brown-Relation of the Art-Impulse to
Excess of Life-Force and to Imitation-To Spiritual Force-To
Inspiration-The Conscious and Subconscious Spheres of Mind;
Memory-Hypnotism-Trained Automatic Skill-Subconscious
Mathematical, Logical, and Musical Proficiency-Religious In-
spiration, Scientific Investigation and Artistic Imagination—
Differences between Religion and Art-Art can Influence for
Good Religious Thought and Life-Differences between Science
and Art-The Main Work of Science Conducted in the Conscious
Mental Region; that of Art Equally in the Subconscious-
Illustrations-The Man of Imagination and of None-Subconscious
Mental and Imaginative Action Is not Irrational, though it is
Rapid and Emotional-Connection between Artistic Mental Action
and Temperament- Artists Are Men of Sentiment.
CHAPTER IV.
ARTISTIC RESULTS AS DETERMINED BY TEMPERA-
MENT, TRAINING, PRACTICE, AND SKILL
59-67
How the Artistic Differs from the Scientific Mind-Some Unfitted
by Nature to Become Artists-The Effect of Education in Training
Ability to Use what has been Stored in the Mind-Ability to Use
this Depends on the Physical Power of the Brain-This can be
Developed by Practice-This Development can Extend to that
which Involves the Possession of Genius-Training Affects the
Quality of Subject-Matter as well as of Style-The Ability to
Give Expression to Subconscious Inspiration which Characterises
Genius is also Due to Skill acquired by Practice-Subconscious
Powers can be Cultivated through Training the Conscious, as in
the Case of Memory-Of Critical Ability-The Degree of Work is
apt to Measure the Degree of Worth-Any Development in the
Mind may Contribute to Artistic Development.
CHAPTER V.
ARTISTIC FORM AND SIGNIFICANCE
68-78
Review of the Thought in Preceding Chapters-Reproduction of
Beauty Necessitating Attention to both Form and Significance
-Meaning of the term Form in Art-Of the term Significance-
The Necessity for Giving Due Consideration to Both-Regard for
Form and Disregard of Significance in Painting-In Sculpture,
Architecture, Music, and Poetry-How Far the Artist must
consciously Regard claims of Significance—Regard for Signifi-
cance and Disregard of Form in Poetry and Painting-In Architect-
ure- —In Music—Regard for Form and for Significance need Not
be Antagonistic-Reason for Applying to the Higher Arts the
term Representative.
CHAPTER VI.
ART AS REPRESENTATIVE RATHER THAN IMITATIVE
OF NATURAL APPEARANCES
79-108
Representation Contrasted with Imitation-Co-ordinated with
Requirements of Imagination-Of Sympathy-Representation
versus Imitation in Music-Representation in it of Intonations of
Speech-Of Natural Humming and of Surrounding Sounds-Repre-
sentations of Nature in the Sounds and Figures of Poetry-In its
General Themes-Representations of Nature in Painting and
Sculpture-While Sometimes Imitative, these are Always Repre-
sentative-Shown in the Results of the Study of Values—Of Light
and Shade Of Shape and Texture Of Distance, and the Classic
and Impressionist Line—Of Aërial Perspective—Of Lineal Perspec-
tive Of Life and Movement-Explaining Occasional Lack of
Accuracy-Same Principles Applied to Sculpture-Representation
rather than Imitation in Primitive Architecture, as in Huts, Tents,
etc.—Architectural Perspective as Applied by the Greeks-Explain-
ing Differences in Measurements of Similar Features in the Same
Building-Differences in Measurements of Corresponding Features
in Different Buildings-Representation, Not Imitation, the Artist's
Aim in Reproducing Forms in Architecture.
CHAPTER VII.
ART AS REPRESENTATIVE RATHER THAN COMMUNICA-
TIVE OF THOUGHTS AND EMOTIONS
109-129
Artistic Treatment does Not Increase, and may Diminish the
Communicative Qualities of a Product-Art Involves Communica-
tion through Using or Referring to Natural Appearances; i.e.,
through Representing these-Representation of Thoughts and
Emotions through Sustained and Unsustained Vocal Sounds-
Used respectively in Song and in Speech-Music does Not Com-
municate, but Represents Underlying Tendencies of Mental Pro-
cesses-Analogous to Natural Processes-Freedom of Imaginative
Inference Stimulated also in Poetry, which should Represent
rather than Communicate-Illustration-Same Principle Appli-
cable to Whole Poems-The Moral in Poetry is Represented-
Visible Arts Represent Thoughts and Feelings-Paintings and
Statues are Ranked according to the Quality of the Significance
which they Represent-Illustrated in Pictures of Flowers or
Fruit-Of Natural Scenery-Of Portraits and Human Figures—
Architectural Representation, and How it is Related to Musical—
Representative Character of Foundations, Walls and Roots-Of
Constructive Designs and General Plan-Communicative Effects
of Such Representation.
CHAPTER VIII.
ART AS REPRESENTATIVE RATHER THAN PRESENTA-
TIVE OF THE PERSONALITY OF THE ARTIST 130-140
Relation of Art to the Artist-Art Emphasises the Fact that
Natural Factors are Used for Expression-This Fact Reveals a
Spirit Capable of Expressing Thoughts and Emotions-Why High
Art Uses Forms Other than those belonging to the Artist's Own
Body-Connection between the Creative in the Divine and in the
Artist-Both Necessitate Representation-Representation of Spirit
and of the Subconscions Nature-Connection in Art between Per-
sonal and Sympathetic Effects - Explanation - How Art can
Represent Appearances as they Affect the Individual, and yet as
they Affect All-Owing to Artist's Sympathetic Temperament-
What is Genius-Its Effects Representative of the Individual, and
yet of Men in General.
CHAPTER IX.
141-154
THE DIFFERENT ARTS AS REPRESENTING DIFFERENT
PHASES OF MENTAL CONCEPTION
The Art Used in Expression is Often Determined by the Thought
or Emotion to be Expressed-Form of Expression Appropriate for
Each Stage of any given 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 Rearranging Leading
to Architecture-Relations of External Influence and States of
Consciousness as Represented in Each Art-Mental Contents and
Influence from Without Compared to Ice on Water flowing into
an Inlet Conditions Corresponding to Music, Poetry, Painting,
Sculpture and Architecture-Testimony of Physics-Largest Nerve-
Movement in Music, Less in Poetry, Less still in Colours, Least in
Lines-Nerves Are Directly Conscious of Vibrations in Sound, as
in Thunder, but Not of Vibrations in Colours-This Fact Illus-
trated Mythologically and Medicinally-Mental Facts Accord
with what has Preceded-The Indefinite is Represented in
Inarticulated Music; the Definite in Articulated Poetry-Differ-
ence in Representative Effects of Words and Tones-Is a Differ-