See also:

• FINE

And so, with the growth of See also:

• SOCIETIES, LEARNED

The See also:

• FATHER

Such an original or rudimentary stage of the dramatic art is presented by See also:

• CHILDREN, LAW RELATING TO

Similarly, music is composed to be sung or played for the enjoyment of many at a time, and for such enjoyment a See also:

• HUNDRED

That at least is a beautiful experience; why is the pleasure which it affords not an artistic pleasure either? Why, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

But outside of and beyond such acquisitions he must See also:

• TRUST

The value of the result depends absolutely on his possessing or failing to possess powers which can neither be trained in nor communicated to any man. And this See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

So far as these inventions are applied to purposes purely useful, and so far as their products to not profess to offer any-thing delightful to contemplation, this movement in no way concerns our argument. But there is a vast multitude of products which do profess qualities of pleasantness, and upon which the ornaments intended to make them pleasurable are bestowed by machinery; and in speaking of these we are accustomed to the phrases art-See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

The answer is that the inventor has a definite and practical end before him; his ideal is not free; he deserves all See also:

• CREDIT (Lat. credere, to believe)

It is by See also:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

So far as man yields to the importunities of sense, in so far he is See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

Relatively to real life and conduct, play is a kind of harmless show; it is that which we are free to do or leave undone as we please, and which lies alike outside the sphere of needs and duties. In play we may do as we like, and no See also:

• MISCHIEF

It does See also:

• JUSTICE (Lat. justitia)

Such a struggle, in which the exertions are real and the issue uncertain, we follow with an excitement and a suspense different in kind from the feelings with which we contemplate a fictitious representation. For example, let the reader recall the feelings with which he may have watched a real See also:

• FENCING

But it is urged at the same time that these twin impulses, rooted as they both are among the primordial faculties both of men and animals, are far from existing merely to provide a vent whereby the superfluous energies of sentient beings may See also:

• DISCHARGE (adapted from the O. Fr. discharge, modern decharge, from a med. Lat. discargare, to unload, dis- and earn care, to load, cf. " charge ")

The special qualities of pleasure felt and communicated by doing things in one way rather than another, independently of direct utility, which we indicated at the outset as characteristic of the whole range of the fine arts, appear on this showing to be dependent primarily on the response of our organic sensibilities of See also:

• NERVE (Lat. nervus, Gr. vevpov, a bowstring)

Leaving aside that part of his doctrine which concerns, not the phenomena of the arts them-selves, but their place in the dialectical world-See also:

• PLAN
• PLAN (from Lat. planes, flat)

shaping In the products or results of all these arts See also:

• EXTERNAL

The arts which surround us in space with stationary effects for the eye, as the house we live in, the pictures on the walls, the See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

2. The Imitative and the Non-Imitative Arts.—Each art either does or does not represent or imitate something which exists already in nature. Of the five greater fine arts, those which thus represent objects existing in nature are sculpture, painting iSecondassiflca• and poetry. Those which do not represent anything so flop: the existing are music and architecture. On this principle we imitative get a new grouping. Two shaping or space arts and one and non-speaking or time art now form the imitative group of imitative sculpture, painting and poetry; while one space art and arts one time art form the non-imitative group of music and architecture. The mixed space-and-time arts of the actor, and of the dancer, so far as he or she is also a mimic, belong, of course, by their very name and nature, to the imitative class. It was the imitative character of the fine arts which chiefly occupied the attention of Aristotle. But in order to understand the art theories of Aristotle it is necessary to bear in mind The the very different meanings which the idea of imitation imitative See also:

• BORE

But in our own more restricted usage, to imitate means to copy, mimic or represent some existing phenomenon, some definite reality of experience; and we can only call those imitative arts which bring before us such things, either directly by showing us their actual likeness, as sculpture does in solid form, and as painting does by means of lines and colours on a plane surface, or else indirectly, by calling up ideas or images of them in the mind, as poetry and literature do by means of words. It is by a stretch of ordinary usage Io less; eloquence in all kinds, so far as it is studied and not merely spontaneous; and among the arts which fashion or dispose material objects, See also:

• EMBROIDERY (M.E. embrouderie, from O. Fr. embroder, Mod. Fr. broder)

What the music contributes is a special element of its own, an element of pure emotion, aroused through the sense of hearing, which heightens the effect of the words upon the feelings without helping to elucidate them for the understanding. Nay, it is well known that a song well sung produces its intended effect upon the feelings almost as fully though we fail to catch the words or are ignorant of the language to which they belong. Thus the view of Aristotle cannot be defended on the ground that he was See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

Neither are the successful effects of the great composers in evoking ideas of particular natural pheno- See also:

• MENA, JUAN DE (1411–1456)
• MENA, PEDRO DE (d. 1693)

Corresponding to the of archisystem of ear-effects or combinations of time, tone and tecture. harmony with which music works, architecture works with a system of eye-effects or combinations of mass, See also:

• CONTOUR

364 forest trunks and See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

Thus a statue or statuette may either be carved straight out of a bi;pck of stone or wood, or first modelled in clay or wax, then moulded in plaster or some equivalent material, and then carved in stone or See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

But the two kinds of sculpture differ in this. A work[CLASSIFICATION of sculpture in the round- imitates the whole of the outlines by which the object imitated is circumscribed in the three dimensions of space, and presents to the eye, as the object: itself would do, a new outline succeeding the last every moment as you walk round it. Whereas a work of sculpture in relief imitates only one outline of any object; it takes, so to speak, a See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

Chiefly in lands and ages where See also:

• CLIMATE

is properly a graphic rather than a plastic principle, among sculptors or among draughtsmen. The above are cases in which the relief sculptor exercises his liberty in the introduction of other objects besides human figures into his sculptured compositions. But there is another kind of relief sculpture in which the artist has less choice. That is, the kind in which the sculptor is called in to decorate with carved work parts of an architectural construction which are not adapted for the introduction of figure subjects, or for their introduction only as features in a scheme of ornament that comptises many other elements. To this head belongs most of the carving of capitals, See also:

• MOULDINGS

Near and far is all the same to it, and Range of whatever comes into the field of See also:

• VISION (from Lat. videre, to see), or SIGHT

It is not possible for a painter to imitate natural objects to the eye at all without either defining their boundaries by outlines, or suggesting the shape of their masses by juxtapositions of light and dark or of local colours. In the complete art of painting, of course, all three methods are employed at once. But in what is known as outline drawing and outline engraving, one of the three methods only is employed, line; in monochrome pictures, and in shaded drawings and engravings, two only, line with light-and-shade; and in the various shadeless forms of decorative painting and colour-printing, two only, line with colour. Even in the most accomplished examples of the complete art of painting, as was pointed out by See also:

• RUSKIN, JOHN (1819-1goo)

With these indications we may leave the art of painting defined in general terms as a shaping or space art, of which the business is to express and arouse emotion by the imitation of all kinds of Definition natural objects, reproducing on a plane surface the relations of of their boundary lines, lights and shadows, or colours, or painting. all three of these appearances together. The next and last of the imitative arts is the speaking art of poetry. The transition from sculpture and painting to poetry is, from the point of view not of our present but of our first division Pastry as among the fine arts, abrupt and See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

Occasionally also, or in the case of opera throughout, dramatic poetry heightens the emotional effect of its words with music. A play or drama is thus, as performed upon the theatre, not a poem merely, but a poem accompanied, interpreted, completed and brought several degrees nearer to reality by a combination of auxiliary effects of the other arts. Besides the narrative, the lyric and dramatic forms of poetry, the didactic, that is the teaching or expository form, has usually been recognized as a See also:

• FOURTH

Poetry, by its command over the regions of the understanding,-of See also:

• ABSTRACTION (Lat. abs and trahere)

Suckling calls up the charm of such a foot by describing it not at rest but in motion, and in the feet which " Beneath the See also:

• PETTICOAT

They must be actions and expressions in some degree settled, collected and capable of continuance, and in their collectedness must at the same time suggest to the spectator as much as possible of the circumstances which have led up to them and those which will next ensue. These conditions evidently bring within a very narrow range the phenomena with which this art can See also:

• DEAL

Next we arrive at painting, in which the third dimension is dismissed altogether, and nothing is actually reproduced, in full or Means and partially, except the effect made by the appearance of capacities natural objects upon the retina of the eye. The conse-. ofpaint- quence is that this art can range over distance and See also:

• ING

And this is the sum of the conditions concerning the respective functions of the three arts of imitation which had been overlooked, in theory at least, until the time of Lessing. To the above law, in the form in which we have expressed it, it may perhaps be objected that the acted drama is at once the most The acted full and complete reproduction of nature which we owe to the fine arts, and that at the same time the number of de acted real facts over which its imitation ranges is the greatest. reception The answer is that our law applies to the several arts to the only in that which we may call their pure or unmixed general state. Dramatic poetry is in that state only when it is law, read or spoken like any other kind of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

Such a representation, were it possible, would be a mechanical See also:

• INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

See also:

• VISCHER
• VISCHER, FRIEDRICH THEODOR (1807-1887)

This is one part of the transmuting process which the data of life and experience have to undergo at the hands of artists, and may be called the subjective or purely personal mode of idealization. But there is another part of that work which springs froman impulse in the artistic constitution not less imperious than the last named, and in a certain sense contrary to it. As an imitator or evoker of the facts of life and nature, the artist must recognize and accept the character of those facts with which he has in any given case to deal. All facts cannot be of the cast he prefers, and in so far as he undertakes to deal with those of an opposite cast he must submit to them; he must study them as they actually are, must apprehend, enforce and bring into prominence their own dominant tendencies. If he cannot find in them what is most pleasing to himself, he will still be led by the abstracting and discriminating powers of his observation to discern what is most expressive and significant in them, he will emphasize and put on record this, idealizing the facts before him not in his direction but in their own. This is the second or objective half of the artist's task of idealization. It is this half upon which See also:

• TAINE, HIPPOLYTE ADOLPHE (1828-1893)

The two genuine modes of idealization, the subjective and the objective, are not always easy to be reconciled. The greatest artist is no doubt he who can combine the strongest personal instincts of preference with the keenest power of observing characteristics as they are, yet in fact we find few in whom both these elements of the ideal faculty have been equally developed. To take an example among Florentine painters, Sandro See also:

• BOTTICELLI, SANDRO

Hence Shakespeare's Caliban and figures like those of Quilp and Quasimodo in the romances of See also:

• DICKENS, CHARLES JOHN HUFFAM (1812-187o)

So far we have assumed, without asserting, the necessity that the artist in, whatever kind should possess a power of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

In the imitative arts, on the other hand, the sculptor, unless he is a See also:

• FRAUD (Lat. fraus, deceit)

If he is truly and organic- ally the magic sensitive to words alone, and has learnt life only oiwotbs. through their medium and not through the energies of his own imagination, nor through personal sensibility to the impact of things and thoughts and passions and experience, then his work may be a See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

But even in advanced societies the double qualities of use and beauty still remain inseparable, among the five greater arts, in architecture. We build in the first instance for the sake of Among the necessary shelter and accommodation, or for the See also:

• CORN (a common Teutonic word; cf. Lat. granum, seed, grain)
• CORN (fromm Lat. corms, horn)

Compare See also:

• MILTON
• MILTON, JOHN (1608–1674)

To this vast group of workmen, whose work is at the same time useful and fine in its degree, the ancient Greek gave the place which is most just and convenient for thought, when he classed. them all together under the name. of rieroees, or artificers, and called; the builder by the name of ttpXtrEKrws, arch-artificer or artificer-inchief. Modern usage has adopted the phrase " arts and crafts " as a convenient general name for their pursuits. . Students of human culture have concentrated a great 'deal of attentive thought upon the history of fine art,; and have, put forth various comprehensive generalizations intended at once to sum up and to account for the phases and vicissitudes of that history. The most famous formulae are those of Hegel, who regarded particular arts as being characteristic of and appropriate to particular forms of See also:

• CIVILIZATION

Herbert Spencer set forth how the and the manual group of fine arts, architecture, sculpture eyolutlon and painting, were in their first rudiments bound up theory. together, and how each of them in the course of history has liberated itself from the rest by a See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)