Note
First Aggregate, the Entire Production of the Artist—Second Aggregate, the School to which he belongs; examples, Shakespeare, Rubens. Third Aggregate, Contemporary Society; examples, Greece, Spain, in the Sixteenth Century.
Importance of Essential Character; Nature imperfectly expressing it, Art supplies her place—Flanders in the time of Rubens, and Italy in the time of Raphael.
Artistic Imagination—Spontaneous Impressions, and their power of Transformation.
Two Parts in this Definition—How Music and Architecture enter into it—Opposition of the first and second group of Arts—The first copies Organic and Moral Dependencies; the second combines Mathematical Dependencies.
The Value of Art in Human Life—Selfish Acts for the preservation of the Individual—Social Acts tending to preserve the Species—Disinterested Acts having for object the contemplation of Causes and Essentials—Two ways for attaining this end; Science and Art—Advantages of Art.
The Action of a Moral Temperature—The Influence of Melancholy and Cheerful States of Mind—The Artist is saddened by his personal share of misfortune—By the melancholy ideas of his contemporaries—By his aptitude for defining the salient character of objects, which here is sadness—He finds suggestions and enlightenment only in melancholy subjects—The Public comprehends only melancholy subjects.
Birth of Sculpture; Statues of Athletes and of Gods—Why Statuary sufficed for the Artist’s Conceptions—Immense Number of Statues.
The Representative Man—Development of Music—Its Origin in Germany and Italy; and its Dependence on Modern Sentiments.
Universality of Music.