76. FACIAL DIVISIONS Mentioned on pages 73. FRONT FACE Divided PROPORTIONATELY BY LINES 74. SIDE FACE DIVIDED PROPORTIONATELY BY LINES 75. FACIAL DIVISIONS Drawn over a photograph in The Dramatic Mirror. pages 348, 349. PAGE 0 347 347 Drawn over a photograph in The Dramatic Mirror. Mentioned on pages 348, 349. 77. CIRCLES ILLUSTRATING FIELD OF DISTINCT VISION FOR BOTH EYES TOGETHER From a drawing. Mentioned on page 351. 78. VASES OUTLINED BY ELLIPSES AND Segments of Circles Drawn about forms suggested in Hay's "Ornamental Geometric 79. BUILDING ENCLOSED BETWEEN CIRCLES From a drawing. Mentioned on pages 222, 253, 261, 290, 293, 296, 302, 355. 351 353 354 82. CIRCLES DRAWN ABOUT A FORM IN GRACEFUL ACTION From a drawing. Mentioned on page 356. oduction-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 HumanThe Fine or Higher Arts-Distinguished from Others by Belonging Most Finely and Distinctively to Nature-Therefore Emphasising Natural Appearances-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 LandscapeGardening, Decoration, Dancing, Pantomime, Elocution, and Dramatics-The Humanities-External Products Necessitated in MusicPoetry-Painting and Sculpture-And in Architecture. NOWLEDGE in this world grows by way of accretion. In order to be sure about many things that ve fail to know, it is necessary to start with a few things. hat we do know, and to these few add and relate the hers in such a way that the connections between all all seem inevitable. In accordance with this principle, let us begin the discussions of this volume with certain facts concerning art which, if not usually known, will at least be readily recognised to be true the moment that they are stated. When we say that a man has an art or the art of producing effects of any kind, we mean that his words or deeds manifest a certain method. Works of art are products revealing this method. They may not reveal it to a first glance; they must to careful inspection. Otherwise none could distinguish them from other works and designate them by a special term. What is this method? A child talks to us with grace in her movements and sweetness in her voice, and we admire what we term her artlessness. A grown woman, an actress, perhaps, produces almost identical effects that seem equally pleasing, but what we admire in her we term her art. What is the difference between an absence of art and a presence of art, as indicated in these two cases? We cannot fully answer this question by saying merely that the child's actions appear to be spontaneous or original, and that the woman's appear to be imitative. The very actions of the child which the grown person imitates may themselves be imitative. What the woman does that is different from the action of the child is to produce the imitations according to a different method. Nor can we answer the question by saying that the child's actions are natural and the woman's unnatural. Very often, that which most pleases us in the woman is the fact that her actions are similar in form to those of nature. Yet we term the result art because we recognise that they are produced not according to the method of nature-in this case, of a child's nature,-but according to a different method. |