| Volltext: | INDEX OF PERSONS Abraham, 196 Achates, 179 Adler, Guido, 273 Aesop, 168, 410 Alberti, Leon B., 246 Anderson, K. E. Henry, 216 Andreas-Salomé, Lou, 219 Andromache, 308 Antinoüs, 378 Apelles, 139 Apollo, 374, 407 Archipenko, Alexander, 374 Aristotle, 49, 152, 162-3, 171, 190, 264, 346, 365, 375 Bab, Julius, 340 Bach, Johann S., 272, 284, 292—4 Baerwald, Richard, 173, 292 Baggesen, Jens I., 366-7 Bahnsen, Julius, 214 Bahr, Hermann, 311, 374 Bain, Alexander, 72 Balzac, Honoré de, 191, 198, 350-1 Barbara, Saint, 400 Baumgarten, Alexander G., 176, 225 Baumgarten, Franz, 354, 356-7 Beethoven, Ludwig van, 257-8, 272, 294-5, 298, 427 Bellini, Vincenzo, 96 Berlioz, Louis Hector, 105 Beyle, Marie Henri (Stendhal), 293 Bie, Oskar, 290-1 Bismarck, Otto E. L. von, 337, 413—4 Bizet, Georges, 293, 398-9 Blake, William, 391 Bleuler, Eugen, 216 Blumauer, Aloys, 179 Blumenthal, Leonhard von, 387 Boas, Eduard, 258 Bochenek, Johannes, 85 Böcklin, Arnold, 78, 182, 200, 258, 383 Boileau-Despréaux, Nicolas, 225 Börne, Karl Ludwig, 152 Bosanquet, Bernard, 299 Bosselt, Rudolf, 360 Botticelli, Sandro, 383 Brahms, Johannes, 278, 300 Bratranek, Franz T., 65 Brentano, Clemens, 180, 399 Breuil, Henri, 415 Brunellesco, Filippo, 196 Brünnhilde, 285 Büchler, Karl, 114 Bühler, Karl, 245 Bülow, Hans von, 175 Burke, Edmund, 157-8, 160 Busoni, Ferruccio B., 25 Byron, George Gordon, 134, 183 Caesalpino, Andreas, 408 Caesar, Julius, 311, 346, 350 Calderon de la Barca, Pedro, 303, 343 Carlos, Don, 346 Carlyle, Thomas, 180, 389 Carmen, 293, 298-9 Carrière, Moritz, 139 Cartailhac, Emil, 415 437 Aesthetics and Theory of Art Cézanne, Paul, 374, 385 Chagall, Marc, 386 Cicero, Marcus Tullius, 337 Claude Lorrain, 78 Clauren, H. (Karl G. S. Heun), 125 Cleopatra, 311 Cohen, Hermann, 152 Combarieu, Jules L. J., 282 Constable, John, 78 Conze, Alexander, 243 Cornelius, Hans, 358-60, 374 Couperin, François, 288 Couture, Thomas, 102, 382 Crane, Walter, 234-5 Croce, Benedetto, 29-30, 185 Cromwell, Oliver, 172 Crusoe, Robinson, 239 Cuvier, Georges L. C. F. D., 198 D'Annunzio, Gabriele, 314 Darwin, Charles, 256, 261 Day, Lewis F., 362 Deffand, Marie Anne de Vichy- Chamrond du, 154 Delius, Frederick, 278 Democritus, 167 Deri, Max, 117 Descartes, René, 45 Desdemona, 308 Dessoir, Max, 9-11 Dettmann, Ludwig, 387 Diderot, Denis, 307-8, 397-8, 399 Dilthey, Wilhelm, 149, 212 Dionysus, 250-1 Dostoevski, Fëdor M., 351 Dubos, Jean Baptiste, 49, 262-3 Dürer, Albrecht, 118, 200, 246, 289, 391, 401-2 Duse, Eleonora, 307 Eckermann, Johann P. 198, 234, 369 Eckhardt, Ludwig, 267 Eckhart, Meister, 221 Elizabeth, Saint, 169 Epimetheus, 330 Eros, 222 Eucken, Rudolf, 434 Euphronios, 379 Euripides, 345 Eyck, Jan van, 78 Faust, 302, 332, 347, 409, 425 Fechner, Gustav T., 33-4, 83-4, 106- 7, 145 Feuerbach, Anselm, 407 Fichte, Johann G., 50, 55, 57, 140 Fiedler, Konrad, 46, 147-8, 322, 358- 9 Fischer, Karl, 258 Flaubert, Gustave, 138, 203, 331, 347- 8, 424 Fontane, Theodor, 103, 126 Forster, George, 398-9 Francis of Assisi, Saint, 287 Freytag, Gustav, 342, 345, 350 Frisch, Ephraim, 309 Fromentin, Eugène, 199, 348 Fürtwangler, Adolf, 379 Garve, Christian, 67 Gautama Buddha, 70, 240 Gautier, Théophile, 47 Geiger, Moritz, 112 Ghiberti, Lorenzo, 196 Giles, H. A., 388 Giotto di Bondone, 82, 402 Glaser, Curt, 388 Gneisenau, August W. A., 413 Goes, Hugo van der, 106 Goethe, Johann W. von, 29, 138, 141, 183, 198, 213, 215, 221, 223, 311, 329, 346-7, 351-2, 356, 369, 373- 4, 397-8, 412-3, 421, 425 Gogh, Vincent van, 385 Goldschmidt, Hugo, 288 Goncourt, Edmond L. A. de, 351 — and Jules A. H., 67, 203, 416 Gorgias, 333 Gottsched, Johann C., 252 Gowers, W. R., 286 Gozzi, Carlo, 341 Grabbe, Christian D., 182, 347 Gregori, Ferdinand, 317 Gretschaninov, Alexander, 273 Grieg, Edvard H., 288 Grillparzer, Franz, 267, 347 Grimm, Herman, 258, 397, 404-5, 418 Grimm, Jakob, 263 Groos, Karl, 236-7, 353 Grosse, Ernst, 242 Gsell, Paul, 375-6 Gutzkow, Karl, 108 Haeckel, Ernst H., 69, 256 Hagemann, Carl, 317 Halbe, Max, 186 Hamann, Johann G., 32-3, 267 Hamann, Richard, 372 438 Index of Persons Hamlet, 309, 311 Hannson, Ola, 220 Hanslick, Eduard, 43 Hardenberg, Friedrich L. von (Novalis), 349 Harlequin, 419 Hartmann, Eduard von, 30, 41, 50, 183, 324-5, 331 Hauff, Wilhelm, 125, 308 Hauptmann, Gerhart, 165, 313-4, 344 Haydn, Franz Joseph, 258 Hebbel, Friedrich, 187, 204-5, 258 Hegel, Georg W. F., 26, 41, 66-7, 120, 159-60, 190, 198, 265, 430, 433-4 Heine, Heinrich, 213, 327 Heine, Thomas T., 177 Heinse, Wilhelm, 64, 398 Heinzel, Richard, 113 Heliodorus, 362 Helmholtz, Hermann L. F., 275 Helvetius, Claude A., 154 Henke, W., 373 Hennig, Richard, 277 Henry VI, 165 Heraclitus, 167 Herbart, Johann F., 423 Hercules, 174 Hermann, Curt, 84 Hero, 298-9, 303 Herrmann, Helene, 355 Herrmann, Max, 300-1 Hettner, Hermann T., 200, 309 Heun, Karl G. S. (H. Clauren), 125 Hildebrand, Adolf, 358-60 Hirn, Yrjoe, 259 Hoffmann, Paul, 149-50 Hoffmannsthal, Hugo von, 184, 191, 204, 343^4 Hohenemser, Richard, 372 Holbein, Hans the Elder, 169 Holbein, Hans the Younger, 382 Hölderlin, Johann C. F., 354 Holzen, Arno, 332 Homer, 243, 330 Hornbostel, Erich von, 251 Hörnes, Moritz, 253, 262 Hugo, Victor, 204 Humboldt, Wilhelm von, 419 Ibsen, Henrik, 343-4, 427 Iffland, August W., 258 Ingres, Jean A. D., 390 Isaac, 196 Isolde, 285 Jacobsen, Jens P., 125 Jahn, Otto, 258 Jänsch, E. R., 230 Jerome, Saint, 401-2 Jesus Christ, 106, 221, 279, 289, 351, 382, 400, 405, 429, 430 Joan of Arc, Saint, 175-6 Job, 391 John the Baptist, 375-6 Jordan, Wilhelm, 263 Juliet, 166 Justi, Karl, 407 Kainz, Friedrich, 9 Kainz, Joseph, 308-9 Kakuzo, Okakura, 85 Kant, Immanuel, 24, 27-8, 30-1, 155- 6, 181, 218, 254, 265, 380, 408-9 Kaulbach, Wilhelm von, 258, 287-9 Kayssler, Friedrich, 220, 317 Keller, Gottfried, 220-2, 309, 320-1 Kerr, Alfred, 399 Key, Ellen, 367 Kierkegaard, Sören A., 430 Kirchmann, Julius H. von, 50 Kierbüll-Petersen, Lorenz, 53 Klaatsch, Hermann, 236 Kleist, Heinrich von, 324, 347 Klingemann, August, 308 Klinger, Max, 201, 390 Klopfer, Paul, 140-1 Korin, 416 Kornfeld, Paul, 344 Köstlin, Karl, 152 Kretzschmar, Hermann, 295-6 Kretzschmar, Johannes, 252 Kroh, Oswald, 230 Kuk, Emil, 258 Külpe, Oswald, 32, 118 Küppers, Paul E., 385 Kurth, Emst, 297 Laboulaye, Maximilien Echalart de, 339 Lairesse, Gerard de, 154 Lamprecht, Karl, 252 Landsberger, Franz, 385 Lange, Konrad, 53, 262 Laurila, Kaarle S., 10 Lazarus, Moritz, 267 439 Aesthetics and Theory of Art Leander, 298-9, 303 Lear, King, 165 Lee, Vernon, 292 Leonard, Rudolf, 419 Leonardo da Vinci, 60, 246, 374 Lessing, Gotthold E., 188-9 Lichtenberg, Georg C., 398 Lichtwark, Alfred, 369 Liebermann, Max, 201 Lingg, Herman, 170 Lipps, Theodor, 32, 57-60, 73, 132, 143-4, 173, 209, 212 Liszt, Franz, 98, 105, 275, 278-9, 284, 289 Litzmann, Berthold, 258 Lombroso, Cesare, 217, 220 Lorrain, Claude, 78 Lotze, Rudolf H„ 29, 56-7, 131, 151, 298 Louis XIV, 339 Lucie, Amadine A. (George Sand), 138 Ludwig, Otto, 184, 198, 347 Lukâcs, Georg von, 349 Lysippos, 139 Macbeth, 165 Maeterlinck, Maurice, 314 Mahler, Gustav, 108, 179, 225 Maintenon, Françoise d'Aubigné de, 422 Mallery, Garrick, 245 Malvolio, 313 Mann, Thomas, 291, 312 Mantegna, Andrea, 397 Marcus, Hugo, 65 Marées, Hans von, 32 Marholm, Laura, 220 Mary (the Virgin), 400, 403-5 Marzynski, Georg, 385 Masaccio (Tommaso Guidi), 402 Massillon, Jean Baptiste, 339 Matisse, Henri, 385 Mattheson, Johann, 275-6, 296 Maupassant, Guy de, 331 Mauthner, Fritz, 322 Maximilian I, 391 Meidias, 379 Meinong, Alexius, 50 Mendelssohn, Felix, 42 Mendelssohn, Henriette, 258 Menzel, Adolph F. E. von, 391, 413 Meyer, Conrad F., 356-7, 426 Meyer, Theodor A., 60, 267, 325-6 Meyrink, Gustav, 334 Michelangelo, 26, 118, 258, 376, 404- 5 Mies, Paul, 288 Mill, John S„ 357 Millet, Jean F., 170 Milsand, J., 192 Minor, Jacob, 399 Möbius, Paul J., 69, 225, 261 Molière (Jean B. Poquelin), 59, 171, 419 Moltke, Helmuth C. B. von, 70 Mommsen, Theodor, 350 Monet, Claude, 78 Moog, Willy, 330 Morgenstern, Christian, 172, 177-8 Mörike, Eduard, 31, 258 Morris, William, 411-2 Mozart, Wolfgang A., 225, 257-8 Müller, Hans, 258 Müller-Freienfels, Richard, 115, 121-2 Münsel, Gustav, 359 Muthesius, Hermann, 369 Narcissus, 56 Nausicaa, 175 Nebuchadnezzar, 435 Niemann, Walter, 225 Nietzsche, Friedrich W., 203, 221, 287-8, 293, 306, 398-9 Nissen, G. N. von, 258 Novalis (Friedrich L. von Hardenberg), 349 Oedipus, 169 Ofterdingen, Heinrich von, 349 Ostwald, Wilhelm, 406 Othello, 308 Palestrina, Giovanni P. da, 91, 272 Parsifal, 293 Pascal, Blaise, 337 Paul, Jean, 126-7, 152 Paul, Saint, 435 Pausanias, 397 Penthesilea, 303, 334 Pericles, 415 Perugino, Pietro, 403 Phidias, 418 Philoctetes, 169 Philostratus, 397 Picasso, Pablo, 385 Plato, 58, 217, 344, 386, 431, 433-4 440 Index of Persons Plotinus, 63-4 Poe, Edgar Allan, 368 Pohl, C. F., 258 Poquelin, Jean B. (Molière), 59, 171, 419 Prajâpati, 245 Prel, Carl du, 56 Prescott, F. C., 214 Prinzhorn, Hans, 216-7 Prometheus, 330 Przybyszewski, Stanislaus, 220 Purkinje, Johannes E., 373-4 Quantz, Johann J., 296 Racine, Jean Baptiste, 343 Rameau, Jean P., 280 Rang, Christian, 369 Ranke, Leopold von, 350 Raphael, 188-9, 224, 382, 418 Ravel, Maurice J., 25 Reich, Hermann, 419 Reichenbach, Georg von, 88 Reinhardt, Max, 312 Rembrandt, 78, 168, 201, 374, 382 Renoir, P. Auguste, 25 Ricardo, David, 424 Riccoboni, Marie Jeanne, 304 Riegl, Alois, 32 Riemann, Hugo, 44, 136, 278, 297 Rietsch, Heinrich, 99 Ritoök, Emma von, 61, 118 Rittner, Thaddäus, 316 Rodin, F. Auguste R., 360, 375-6, 415 Rogers, J. D., 298-9 Romeo, 166 Rosenkranz, Karl, 66 Rousseau, Jean Jacques, 171, 262-3 Rubens, Peter Paul, 64, 170 Rumohr, Karl von, 117 Runge, Philipp O., 42 Ruskin, John, 64, 151, 348, 368, 373, 407, 421 Rutz, Ottmar, 96, 271 Salisch, Heinrich von, 64-5 Sand, George (Amandine A. Lucie), 138 Santayana, George, 158 Scarron, 168 Schasler, Max, 266 Schaukai, Richard, 225 Schelling, Friedrich W. J. von, 408 Schering, Arnold, 297 Schiller, Johann C. F. von, 41, 236, 258, 341, 343, 346-7, 350-3, 419, 426, 435 Schinkel, Karl F., 312 Schlegel, August W., 40-1, 317, 399- 400 Schlegel, Karl W. F. von, 349, 399 Schleiermacher, Friedrich E. D., 142 Schmarsow, August, 90, 244, 261-2, 370 Schmid, Heinrich A., 258 Scholz, Wilhelm von, 74, 340 Schönberg, Arnold, 25, 272 Schopenhauer, Arthur, 58, 140, 296, 367 Schreker, Franz, 285 Schröder, Friedrich L., 258 Schueller, Herbert M., 9 Schulze, Berthold, 334 Schumacker, Fritz, 369 Schumann, Robert A., 273, 288, 298- 9, 411 Schwantke, Christoph, 164 Schwind, Moritz von, 403 Scott, Walter, 349 Sebastiano del Piombo, 400 Semper, Gottfried, 243, 364, 366, 369 Shakespeare, William, 40, 165, 191, 213-5, 224, 293, 311-3, 340, 342, 346-7, 353, 419 Shaw, George Bernard, 311 Sheltema, F. Adama van, 243-4 Sieburg, Friedrich, 353 Siegfried, 285 Sievers, Eduard, 96, 271 Simmel, Georg, 40, 166-7, 181, 359, 414 Sixtus II, 400 Slevogt, Max, 391 Smith, Adam, 168, 260-1, 263-4 Socrates, 45-6, 222 Solger, Karl W. F., 26, 41 Sophocles, 169, 342 Souriau, Paul, 106 Spencer, Herbert, 105, 261, 263 Sperber, Hans, 334 Spiegelhagen, Friedrich von, 349 Spinoza, Benedict, 138 Spitteier, Karl, 330 Spitzer, Hugo, 200 Spitzer, Leo, 334 Ssehoang, 246 441 Aesthetics and Theory of Art Stanislavski, Constantin, 315 Stein, Heinrich von, 413 Steinen, Karl von den, 245 Steinle, Edward J. von, 287-8 Stendhal (Marie Henri Beyle), 293 Stern, William, 229-30 Stewart, Dugald, 71 Stiftes, Adalbert, 167 Storm, Theodor, 186, 352 Strauss, Richard, 314 Strich, Walter, 148 Strindberg, August, 220, 344 Strzygowski, Josef, 358 Stumpf, Carl, 251 Sudermann, Hermann, 308-9 Sue, Eugène, 108 Sully, James, 209 Sulzer, Johann G., 416 Superville, Humbert de, 89 Swedenborg, Emanuel, 196, 391 Taine, Hippolyte, 41, 191, 328 Talma, Mme, 308 Tarde, Gabriel de, 250 Tasso, Torquato, 345 Taut, Bruno, 371 Tenner, Julius, 304 Thayer, Alexander W., 258 Thoreau, Henry D., 328 Tieck, Ludwig, 304, 306, 314 Titian, 64, 201 Tolstoy, Leo N., 67, 212-3, 351, 414- 5 Treitschke, Heinrich von, 350, 413 Tristan, 119, 285 Trübner, Wilhelm, 416 Turner, Joseph M. W., 78 Uhland, Johann L., 225 Ulysses, 175 Urries y Azara, J. J. de, 268-70 Utitz, Emil, 67, 182, 358 Vasari, Giorgio, 397 Vega Carpio, Lope F. de, 343 Velasquez, Diego R. de, 201 Verlaine, Paul, 353 Verne, Jules, 410 Verworn, Max, 242 Vischer, Friedrich T., 138, 160-1, 374, 377 Vischer, Robert, 56 Vogler, Georg J., 399 Volbehr, Theodor, 196 Volkelt, Johannes, 58-60, 143 Wagner, W. Richard, 96, 108, 198, 203, 225, 247, 258, 260, 265, 267, 285, 298, 312, 413 Wak, 245 Wallaschek, Richard, 275, 286 Wallenstein, Albrecht E. W. von, 317, 347 Wasielewski, Joseph W. von, 258 Wasserman, Jakob, 348 Watteau, Jean Antoine, 78 Weber, Karl M. F. E., 186 Wedekind, Frank, 343-4 Wesendonck, Mathilda, 198, 285 Whistler, James A. McN., 199, 383, 389 Wiehert, Fritz, 418 Wilde, Oscar, 146 Wildenbruch, Ernst von, 301 Winckelmann, Johann J., 63, 390, 398, 407 Wirtz, Heinrich, 116 Witasek, S., 50-1 Witmer, Lightner, 84 Wolff, Julius, 88 WölfHin, Heinrich, 43-4, 200, 374, 401-3 Wörmann, Karl, 242 Wulff, Oskar, 362 Wundt, Wilhelm, 232, 323, 329, 431 Zarathustra, 287-8 Ziller, Tuiskon, 423 Zimmerman, Robert, 43 Zola, Emile, 125, 170, 200, 217, 351 442 INDEX OF SUBJECTS Actors: Childhood of, 258; Depend-of, 316, Development of performance, 317; Inner emotions from correct performance of, 209-11, 307- 9; and Musicians, 200, 310; Social disrespect for profession of, 310; and Speakers, 336-7; Talent for acting, 195; see Mimic art, Theatrical art Actuality, see Reality Aesthetic, the: Autonomy of, 27-31, 34, 157; and Art, 18, 66, 110, 158, 181-2, 254 350, 411; see Beautiful, Essentialism, Formalism, Illusion, Illusionism, Naturalism, Sensualism Aesthetic objectivism, 24-5, 35-48 Aesthetic subjectivism, 24-5, 48-61 Aesthetics: Concept and trends of, 17, 23-35, 62-6, 110-1, 143, 240; Normative (metaphysical and critical), 26-31, 34; Psychological, 26, 31-4, 122; Relation to art and science of art, 17-22, 68, 72-3, 110-1 Allegory, 139, 327, 348, 366-7 Anthropomorphism, 58, 61, 107-8, 140-1 Appearance, see Illusion theory Architects, qualities of, 27, 199-200 Architecture, 366-71; the Architectonic and empathy, 59, 61, 366-9; shift of Boundaries of, with changes of taste, 70-1; Color in, 370-1; Ideas in, 58; with respect to Materials, 105, 367-8; actual Needs as incentives to changes in, 259; in System of the arts, 261-2, 265-6; Tragedy in, 164-5; see Church Art: Autonomy of, 410-1, 426; Beginnings of, 228-52, 260-70, 349; Biological basis of, 122-3, 257, 311, 413; Connoisseurs and ( art for art's sake), 68, 415-7, 424; Intellectual function of, and science, the aesthetic and the logical, perceiving and thinking, 42-4, 54-5, 67-71, 153- 5, 191-2, 193-5, 197-8, 245-6, 333-4, 350-1, 396-411, 420-1; Moral function of, 154, 222-3, 424- 36; Science of, 18-22, 63, 75, 181, 295, 396-406; Social function of, extension of, 18, 42, 70-1, 72-3, 239—49, 411—24; the State and art, 227, 419-21, 426-8; see Beautiful, Pictures, Religion and art Art criticism, 21, 30, 43, 414, 425-6 Appraisal and taste, 23, 25; Linguistic clichés instead of evaluation through empathy, 60; of the Present, 39 Art lovers, 294 Artistic education of the people, 417- 21, of youth, 421—4, 426-8 Artists and artistic creation: and Imagination, 42, 47-8, 53-4, 181-227; Originality, 197-8, 224; Reproducing, 195, 199-200, 300-1; Solitude 443 Aesthetics and Theory of Art Artists and artistic creation (cont.) of, 221-3, 415-6; Statements about own creative activity, 185-6, 198, 203, 204-5, 220-3; and Theory, 20-2, 47; see Gestalten, Integrity, Mimic art, Reality Associations: in Aesthetic experience, 112-3; Between expressive movements and mental processes in artistic creation, 209—10; Definite and indefinite, as a classifieatory principle in art, 265; on Empathizing with curves, 363; Lively, for the artist, 193; in Mimic art, 306; in Music, 146, 203, 278, 288, 292, 300; on Seeing color combinations, 76, 124-5, proportions, 80, 82; Theories, 33, 57, 145; in the art of Words, 322-3 Asymmetry, see Symmetry Authors (literary), see Words Balance: Feelings of in musical experience, 278-9; Isodynamia, 81, 129-31, 140 Ballet, 104 Beautiful, the, the aesthetic, and art, 17-8, 24-5, 27, 30, 35, 38, 39-40, 44, 55-6, 59, 62-73, 80-4, 100-1, 168-70, 240, 255-6, 280-1, 340-1, 389, 436; see Ideal beauty, Natural beauty Bodily adornment, 240, 243-4, 252- 3, 255, 260, 262, 364r-5 Boundary line, see Outline Callicracy, 62-3; and panaestheticism, 66, 158, 412 Caricature, 35-6, 178-9, 428 Catharsis, 162-3 Ceramic art, 244-5, 366, 375 Chance, 177, 349, 363-4 Children: and Art, 74, 77, 92, 95, 98, 228-39, 252, 257-8, 264, 360-1, 411, 421-4, 426; and Artists, 54, 204-5, 216, 257-8, 293; Individuality of, 80, 144, 162, 171, 175-6, 204, 214, 223-4, 228-31, 257-8, 427 Church architecture, 369 Clothing, 180, 364-5, 377-8 Color: in Architecture, 370—1; in Children's drawings, 234; Children's synaesthetic hearing of colors, 229; Description of, 406; in Graphic art, 392-3; Harmony, 75-9, 382-4; Individuality of, 24—5, 123—5, 378— 9, 382-4; and Light in painting, 130-1, 378-9, 382-6; in Painting and drawing, 276-7; in Sculpture, 374-5; in Spatial art, 363 Comedy, 342, 345 Comic, the, 17, 150, 158, 168, 170- 8; and Laughter, 121, 172 Concept, see Idea Content (substance, meaning): Aesthetics of, 25, 41, 63, 106-7; and Expression in artistic creation, 184— 6; Feeling of, 112, 117, 138-48, 352; of the Lyric, 355-6; in Music, 288-9; of the Novel, 350-2; of Painting, 386-9; of the Primitive lyric, 249-50 Contrast: in Brightness, 77-8; in Drama, 345; Experienced value of, 30; Feeling of, in the sequence of artist generations, 39; in Music, 283-4; see Tension Crafts, see Useful arts Cubism, 385-6 Culture, 335, 396, 429; Intellectual, and art (aesthetic culture), 23-4 Custom, Power of, 76; Violation of, in the development of art, 38-9 Dadaism, 178 Dance, 82, 137, 247-50, 259-62, 271, 304, 307; Ballet, 104 Difficulty, Child's ignorance of, 233; Overcoming, as an aesthetic principle, 69-70, 182, 199-200; Resistance of the object, 189-90; see Techniques Dilletantism, 412; in Histrionic art, 307-8; in Music, 291-2 Disinterested pleasure, 48-9, 68, 156- 7 Diversity, see Unity Drama, the, 339-47; Choice of material, 346-7; development of Characters, 213-4; and Curiosity, 113; Development of, 342-4; and Epic elucidation, 313-4; Monologue in, 341; Part and counterpart in music and, 283; Primitive, 250; Speech and, 336-7, 338-41, 347; Stage and book, 339-40; in System of the 444 Index of Subjects arts, 267; Tragedy in, 164-8; Wagner's music drama, 284-5; see Rhetoric, Words Dramatic, concept of the, 345-6, 381 Drawing: of Children, 228-34; to Clarify intuition, 321; Communicative power of lines, 234-5, 361-2; and Painting, 378-80; of Primitive peoples, 244-6; see Graphic arts, Lines, Outlines, Script Ecclesiastical art, 106-7, 369, 386-7, 430 Effect, see Impression Empathy, 55-61, 112-3, 118, 254, 265, 374; Exaltation of the self, 142; Interruption of, return to the self, 211-2; Limits of possible, 107- 9, 367-8; in Musical forms, 294- 300; in Musical and poetic meter, 92-3; of the Poet with other persons, 207-8; in Spatial forms, 59, 140-8, 365-8; of the Stage actor, 307-9; see Imitation Enjoyment of art, 17-8, 23, 49, 63, 68, 70-1, 96, 102-3, 111-3, 114, 118-21, 121-2, 383-4, 413-4, 416, 429-30; Occasions for, 29-30, 36- 7, 44-5, 49-50, 53-4, 56-7, 61, 80- 1, 85, 93, 146-7, 148, 163-4, 168, 182, 236-7, 293-4, 300, 324-6, 330-4, 351-2, 412-3 Entelechy (formative force), 87-90, 365-6 Epic, the, 347-52; Development of characters in, 214-5; and History, 410; the Novel, 154, 348-52; the Novella, 348-9; of Primitive peoples, 241, 246; in the System of the arts, 262; see Words, art of Eroticism, see Sexual instinct Essentialism, 39-43; see Idealism Experience, see Impression Expression: Communication in public speech and conversation, 337-9; Effect of means of, on formation of ideas, 187-8, 209-11, 307-9, 321- 3, 423-4; of Emotions in the theory of empathy, 142-3; Enhanced by ugliness, 168-70; Inability or reluctance to express inner in words, 212-3, 294-5; in Music, 146, 236, 277, 288-9, 294-5, 298-9; Need for, and urge to communicate as causes of artistic creation, 184-5, 209-10, 255, 257-8, 313—4; in Ornamental and mimic art, 261-2, 303-4; of Particular bits of intuitive immediacy in the arts, 46-7; Peculiarity of each art based on its media of, 269; of the Primitives, 248; see Media Expressionism: as an Artistic style, 39, 385-6; in Drama, 344; and Mental disorder, 216-7 Expressive, representational, and suggestive power, 332; of Ideas in drawings by children, 232-3, by Primitives, 244-5 Expressiveness of language, 396-407 Eye movements, 89-90, 129-31, 360 Fairy tales, 177, 180, 229, 349 Feelings, 30, 54-5, 60-1, 115-20, 141-2; of Activity, 115; in Comedy, 173; of Complication, 117, 137; of Content, 138-48; of Form, 117, 128-38, 362-3; Intensity of, 115, 214-5, 356; and Language, 328-9, 332-3, 347-8; in the Lyric, 38, 355-6; in Music, 248, 297, 299- 300; Occasions for, 71-2, 112, 117— 8, 296, 298; Sensory, 121-8; Simulated and real, 49-54, 60-1, 326; in Stage actors, 307-9; see Empathy, Functional, Harmony, Illusion theory, Impression, Proportion Figurative (figurai) art, 277, 358- 95; Beginnings of, 240—4, 252-4, 256-7, 258-9; of Children, 229-33; Distinction between, and spatial art, 358-62, 371-2, 376, 385-6; Poetry and music, 332; in System of the arts, 261-70 Fitness, see Utility Form: Enjoyment of, 113; Entrance of, and color into consciousness, 112; Feelings of, 117, 128-38, 362- 3; Inner, 191-2; in Sculpture, 371- 2; Primitive natural, in the useful arts, 365-6; Sense of, in life, 72-3; see Entelechy, Gestalten Formal beauty, 57, 82-4, 85—7 Formalism in aesthetics, 25, 35, 43-4, 100-1 445 Aesthetics and Theory of Art Formlessness of the sublime, 161 Free form and formlessness in music and rhetoric, 282—3, 284-5 Functional pleasure (need for occupation, joy in psychic activity, elevation of vital feeling), 49, 58, 72, 73-4, 112, 115, 119-20, 121-2, 140, 163; of the child, 230, 236; Joy in noise, 290-1; Vital feeling of, in music, 290-3, by poets, 301-2, in spatial art, 358-9 Games, see Play Genius, 194-5; Deductive, 198-9; and Insanity, 216-7; Precocity of musical, 293 Gentility (refinement), 157, 170, 220, 221-2 Gestalten: Comprehension of, and senses involved in formation of, . 109; Feelings of, 137; Formation of, 44, 71-2, 187-8, 193-4, 195, 206, 233, 424; Functional, 88-9; Primary aesthetic, 149-80; Transfor- . mation of, through art, 17-8, 35-7, 46-8, 78, 101-2, 108-9, 158-9, 176, 181, 190, 192-3, 197-8, 205-8, 249-50, 266, 294-5, 333-4, 353-5, 360-1, 379, 385-6, 390-1, 394-5, 408-9, 428-9 Golden section, 82-5, 132-3, 138 Grace, 105-6; Prettiness, 157—8 Graphic arts, 389-95; and Color, 392- 3; Development of draftsmen's techniques, 199-200; Distinction between, and painting, 378-9, 390- 3; Illustration, 391; Independent of literary text, 289; Origin of outline drawing, 253; the Outline, 74, 77-8, 87-9, 229, 333, 390-1; Relation to poetry, 333, 390; see Drawing, Expression, Figurative art, Photography, Script Grotesqueness, 80, 171, 178-9 Handicraft, see Useful arts Harmony: as Aesthetic-ethical concept, 162, 165-7, 213-4, 218-9, 221-2, 435-6; Between self and object, 55-6; as Chief characteristic of beauty, 149-50, 154; of Colors, 75-9, 128-9, 382-4; of Feelings in (first) experience of a work of art, 112, 136-7, 332-3; in Music, 279- 81, 297; as a Primary aesthetic concept, 76, 117; of Tones, 75-6, 128- 9, 279-81; see Sound Heraldry, 245, 361 Heredity, 214, 224-5; Innate talents, 214 Histrionic art, see Mimic art Horticulture, 70-1 Humor, 167-8, 179-80; see Comic Idea (image, concept), 117, 120, 124, 144, 154, 192, 193, 211-2; Class concept, 154; Imagination, 51, 52, 126; Intuitive ideas, 60—1; see Intuitive immediacy, Substance (significance), Type Ideal beauty, 149-59, 165, 213 Idealism ( essentialism ) : in Aesthetics, 27, 35, 39-43, 63, 151, 154-6; in Figurative art, 385-6; in Mimic art, . 303—4; and Naturalism (realism) in interplay, 38, 374; in Philosophy and ethics, 432, 435-6 Idealization: in Histrionic art, 303-4; in Poetry, 333, 341; of Reality, 47- 8; in Sculpture, 377; see Art, Gestalten, Reality Ideas: in Architecture, 58, 366-8; in Artistic creation, 184-5, 186-8, 188-90; in Children's drawings, 231-2; in Drawings, 406; in Drama, 343—4; as Possible actions in the theory of empathy, 58; in Sculptural relief, 372 Illumination, see Inspiration Illusion aesthetics ( theory of conscious self-deception), 53-4 Illusion theory ( phenomenalism, il-lusionism), 44-5, 48-9, 49-54, 101, 324-5; Children's confusion of appearance and reality, 228-30; Disregard of material, 105, 364 Illusionism, 35, 44-5 Image, see Idea Imagination, 27, 115-6, 163, 210-2; Artists' creative, 69-70, 188-90, 191-3, 204-5, 207, 257-8, 283-4, 301-2, 314-5, 348; of Children, 228-30, 427; Fanciful feelings, 50- 2; see Artistic creation Imaginative activity in enjoyment of 446 Index of Subjects poetry, 326-7, 330-1, of graphic art, 392 Imaginative construction as starting point in artistic creation, 206-7, in children's drawings, 228-31, 233 Imaginative ideas, 52-3, 125-6 Imitation: Development of children's pleasure in, 228-34; Effect of, on imitated object (magic action at a distance), 259; Inner, 107-8; Mimic dances, 248; in Music, 277-9; Naturalism and, of reality, 35-9, 193, 311-3; Need of, as cause of first artistic activity, 255, 258; in Sculpture and dancing, 264-5, 374— 5; as Source of rhythm, 249; Theory of, 234; Theory of, inadequate to explain aesthetic value, 37, architecture, 366, artistic creation, 205-7, histrionic art, 309-10, origin of art, 241-4; see Empathy Imitative movements and muscular adjustments, 81-2, 123, 128, 212, 374, 380 Impression (experience, effect): Aesthetic, and state, 17-8, 25, 31-3, 48-56, 62, 68, 72-3, 110-48, 149- 51, 191-2, 312-3, 316-9, 326-7, 415-6; Aesthetic reflex, 112-3, 121, 143-4, 212; First, from works of literature, 113-4, 352; of Histrionic art, 307-9; Relation of, to objective event, 114-6, 338-41; and Size of object, 101-3 Impressionism, 78, 374, 384-5 Individual factor in aesthetic experience, 115-6, 146-7, 173-4, 214-5, 378 Individual law, 29-30 Individuality: Artistic, 18, 36, 39, 195-9, 207-8, 222-7, 335-6, 341; Artist's appreciation of, 213, 343-7; in Histrionic art, 306-7; in the Lyric, 355, 356-7; and Type, 154-5 Inspiration (illumination), 185, 188; in Histrionic art, 307-9 Integrity: of Artists, 223, 348; Conscientiousness, 223, Honesty, 429- 30; Impression of, of architectural structures, 368-71; Truth and art, 37-8, 42-3, 309-10, 312-3, 330-1, 346-7 Intellectual aspect: Connection between artistic and intellectual-literary movements, 246; in Contrapuntal passages, 283-4; in Enjoyment of art (stressed by idealism), 42—3, 129-30; Feelings on first contact with a poem, 113, 352; Opposition of the intellectual and the aesthetic, 68; Processes in experience of harmony, 279-80; Theoretical ideas in primitive drawings, 244-6; Understanding necessary for musical pleasure, 294-5; see Rationalism, Idealism Interest, see Disinterested pleasure Intuition (intuitive immediacy): Art as portrayal of (sensualism), 45- 8; in Artistic creation, 210-1; Ideas of feeling in empathy theory, 60-1; Perceiving and knowing (art and science), 396-411; the Perceptually comic, 174-5; Relation to the aesthetic, 27; Relevance of language, 125-8, 192-3, 320-35; Sensory images evoked by intuitional description, 125-8, 288-9, 303, 326-8, 334-5, by drawing, 321 Intuitive necessity in work of art, 48 Irrational, see Rationalism Isodynamia, see Balance Joy, see Functional pleasure Judgment, 207, 212 Language (speech): Connection between, and figurative art, 234, 245, 192; in Describing works of art, 396-407; in Drama, 340-1, in epics, 347-8, 351-2, in lyrics, 352; Incantations (charms), 259; Intuitional relevance of, 125-8, 192-3, 320-35; Linguistic element as essence of poetry, 127; Linguistic power of authors, 192; Linguistic rhythm, 97, 247, 263; the Linguistically comic, 177—8; Mimic, 260, 315-6; Musical element in, 262-4, 332-3, 352-3; Power and vicarious value of words, 141, 246, 326-7, 334-5, 403-7; see Words Laughter, see Comic, Humor Light: as an Aesthetic quality of things, 77-8; in Painting, 378-9, 382-4; Scale of graphic arts, 392 447 Aesthetics and Theory of Art Linear art, 79-81, 131-4, 240-4, 362- 3 Lines: Basic constituent of painting, 378—9; and Color, 363; Communicative power of, 234-5, 361-2; and Surfaces, 390-1; see Drawing, Outlines Lower senses, 65, 68, 123-5; see Muscular sense Lyric, the (poem), 352-7: and Category of thinghood, 29; and Drama, 347; Embryonic forms of, 246-50; Hypothesis concerning origin of, 256; Relation of, to music (song), 98-100, 286-7, 310, 357; Repetition, 247; Rhythm and meter, 90- 100; Romance and ballad, 104; Similarity of, and music in effect, 127-8, 357; in System of the arts, 262-4 Lyricist as naturalist, 38 Materials: Classification of the arts in terms of, 262; Dependence of artistic achievement on perfection of, 237-8, of fashioning on constitution (soundness) of, 70, 80, 97, 104-6, 108-9, 197-8, 243-4, 325- 6, 335-6, 358, 363—4; see Media, Techniques Meaning, see Content Media, artistic (material): of Architecture, 161, 368-70; of the Art of words, 320; of Horticulture, 70; of Music, 271-81; Peculiarities and limitations of, determining both peculiarities of the several arts and progress of artistic achievement, 46-7, 69, 233, 264, 268, 295, 297- 9, 318-9, 324-6, 364, 394-5; of Spatial art, 358-61; of Theatrical art, 311-7; see Materials, Techniques Melodrama, 267 Melody, 74, 97, 202, 274, 280, 284-7, 297-9, 332, 352 Memory, see Recollections Metaphors: in Children's language, 229; in Describing empathy processes, 140-1; Examination of technical aesthetic terms, 74-5; Immediate emotional effect, 327; In-definiteness of metaphorical names and definiteness of objective structures in spatial art, 140, in music, 296-300; Rooted in nature of language, 329-30, 335; see Empathy, Language, Words, art of Meter, 90-100, 246-7, 352-3; Time and rhythm, 272-4 Metrical foot, 97, 355 Mimic (mimetic or histrionic) art, 303-11; Dance, 248; and Music, 146, 271; Pleasure in being another person, 206, 306-7; of Primitive man, 246-51; in System of the arts, 261-9; Tempo of speech, 135-6; see Actors, Theatrical art Mimicry in action and speech, 303-6, 336-7 Model, 192-3, 201-2, 388-9, 428-9 Moods: Aesthetic (primary forms), 149, 172-3; in Aesthetic experience, 115, 162-3; in Architecture, 61; in Art of words, 126-7; in Colors, forms, and tones, 43, 56-7, 112-3; Intense, 144; Productive, 183-5, 188, 189-90, 295; Pure expression of, in Oriental painting, 380 Morality, 67, 164-7, 350-2; see Art Movements: Arts of, 264-5; Connection of, with music, 271-2; Drawing as playful m., 232-3; Enjoyment of, 123, 137, 374; and Inner excitement, 209-11; Portrayal of music, in description, 127-8, 334-5, 355-6, in music, 278-9, 290, 292, in sculpture, 372, 375-6, 377; Rhythm of, and of tone, 134-5; Rhythmic, for efficiency and fun, 247-8; see Imitation Muscular sense, 81, 123-4, 128, 130- 1, 140-1, 161, 232-3 Music, 271-300; Connection with mimic art, 271; of Primitive peoples, 247-52, 262-4, 274, 275, 280, of Children, 236; So-called, of animals, 255-6; as a Social art of noise, 290-1; in Social life, 251, 287-8, 292-3, 337, 413; in System of the arts, 260-70; and War, 260 Music, Essence of. Music as expression, 43, 146, 236, 278, 294-300. Metaphysical interpretation, 288. Tonally aroused forms, 43, 293—4. Mental movement, 56-7. Music as 448 Index of Subjects elevated speech, 262-3. Indefinite-ness and unreality, 52, 197, 277, 288, 293-4, 297-9. Question of imitation, 277-9. Obtrusiveness, 357 Musical Composition. Rhythm, meter, and time, 90-100. Rhythm as the foundation pillar of music, 256, 271—4. The song (music and words), 98-9, 286-7, 309, 357. Extensive and intensive quantity, 103-5. Repetition, 104, 282-3. The tragic, 164. The comic, 176-7. Signs governing performance, 313- 4. Influence of factual ideas on the creative and the appreciative person, restriction of possible associations through use of words; program music, tone painting, 277-9, 287- 9, 294-5, 252-3. Music drama, 267, 285 Musical education, 421, 422 Musical Experience. Susceptibility, 290-1. Insensitivity, 202-3. Course of the experience in relation to the course of the composition, 116, 135-6. Associative factor, 146, 300. Feelings of complication, 137. Theory of three dimensions of affective contrariety, 137. Tension (extra-aesthetic excitements), 114- 5, 292-3. Similarity to poetic enjoyment, 127-8, 356-7 Musicians (creative and performing), 195-6, 197-8, 202-3, 222-3. Precocity, 293. Association as a disturbing element, 203. Overcoming difficulties, technique, 200, 291-2. Necessity of reproducing music, 190, 264, 301. The reproducing musician, 210. Dependence on the score, 301. Tempo and volume in performance, 135-6. Rendition of a song, 286-7. The orchestral conductor, 95, 271, 273 Musicians, figurative artists, and authors, 331—2 Mysterious, the, 176-7, 201, 208, 228- 9, 349; see Fairy tales Natural beauty, 17-8, 63-71, 74, 101, 153-5, 159-62, 190-1; see Lower senses Naturalism, 35-9, 47-8, 253-4, 363- 4; in Drama, 313-4; in Mimic art, 303-4; in the Novel, 350-1; in Ornament, 140-1, 241-4; see Reality, Imitation Naturalistic style, 38 Noise, 290-1; see Music Novel, the, 103, 340, 348-52; Tragedy in, 165; see Epic Novella, the, 104, 348-9; see Epic Novelty, 156; in life of the child, 230; see Originality Object, aesthetic, 30-1, 55-6, 58-9, 62-75, 109, 141-2, 149-50, 151-2, 287-8 Objectificâtion, 32, 59, 109, 190 Objective spirit, 433—4 Objectivism, 30-1, 35-48 Objectivity, 207 Optical illusions, 80-1, 89-90, 131-2 Organic sensations, 112, 121-8, 140-1, 161, 209-11 Originality, see Artistic creation Ornamentation, 137, 177, 390-1; Mimicry as source of, 261; Origin of, 252-3, 362; Pleasure in geometrical figures, 241-6; in School instruction, 423—4; in System of the arts, 262; and Writing, 361—2 Outlines: Auxiliary frames, 363; Rhythmic, of enclosure, 92; see Graphic arts, Lines Painters, creative activity of, 192-3, 195, 199-202, 209-10 Painting, 17, 68, 378-89, 392-3; Distinction between, and graphic arts, 378-9, 390-3; Distribution of reproductions, 416-8; First stages of, 244-6; Kinds of, 386-9; Limitations of media, 233; Pointillism (Impressionism), 78-9, 383—4; Religious, 106-7; Social function, 415-6; as Surface decoration, 361—4; in System of the arts (its particular function in sensualism), 46, 261-9; Technique, 77-8, 199-201, 378-9; see Color, Figurative art, Pictures Panaestheticism, 64-6, 158-9, 412, 414-5 Parody, 179 Perception, 45, 52-3, 73, 174, 191, 230, 320-1 449 Aesthetics and Theory of Art Persons of achievement, 190-1, 217- 22, 434-5 Phenomenalism, see Illusion theory Photography, 101, 375, 381, 387, 389, 391, 393-5 Pictures: Description of, 396-405; Religious, 106-7; Size of, 103 Picturesque, concept of, 61 Plastic art, see Sculpture Play: Games as basis for a system of the arts, 262; Not the only source of art, 18, 176-7, 236-9, 255, 257- 9; Rules of, 237-8 Pleasant quality of the illusory, 53, of the comic, 172-3 Pleasure feelings, 23-4, 39, 112, 119- 20, 145, 171-2, 212, 213, 340, 416, and synthetic conscious activity, 44, from mere fiction, 51, from proportion, 79, as racially uniform, 62, in being another person, 206, 306- 7; see Disinterested, Functional pleasure Poetry, see Lyric, Words, art of Portraits, 53, 245, 388-9, 393 Prettiness, see Grace Primitive man and art, 239-52, 349 Proportion, 79, 82-5, 101, 106-7, 138; Feelings of, 117, 129-30, 131-3 Psychognosis, 143, 204-15, 350 Purposiveness, see Utility Quantity (absolute extensive and intensive) of the aesthetic object, 101-6, 107-9; Emotional effect, 136-7; in Experience of the comic, 173—4, the pretty, 157-8, the sublime, 159-61; Size, 102-3, 106-9 Rational element in art, 71-2 Rationalism, 43—4, 279; Justification of the irrational, 430; see Intellectual aspect Reality (actuality): Freedom from restraint of, in the comic, 172, in wit, 176, 236-7; Observation of, in Japanese art, 239-40; Opposition of, to repetition, 363; Relations of art and the arts to, 35-48, 52-3, 68, 100-1, 124-5, 190-3, 193-5, 197- 8, 228, 233, 266, 278-9, 289, 293, 304-5, 309-10, 321-3, 326-7, 334- 5, 390-1, 408-10; Remoteness from, in graphic art, 389-95, in outlines, 391; see Art, Gestalten, Illusion theory, Imitation, Naturalism Recollections: Artists' memories of childhood, 204-9; Children's memory ideas, 231-2; Figurative artists' memory of detail, 201-2; Lack of intuitive immediacy, 320-1; Mnemonic value of word rhythm, 263; of Movements, 381; Peculiarity of artists' memory images, 190-3, 201- 3, 356; Personal, in aesthetic experience, 115-6, 283; Support of, by descriptions of works of art, 405 Refinement, see Gentility Reflex, aesthetic, see Impression Refrain, the, 104, 333 Relaxation, see Tension Relief, see Sculpture Religion and art, 106-7, 179-80, 217- 8, 259, 302-3, 386-7, 430, 432 Repetition: Diminution of aesthetic pleasure through, 112; in Linear art, 362-3; in Music, 92, 104, 283; in Ornamentation of primitive peoples, 241; in Primitive poetry, 247, 250; as a Principle of elementary aesthetics, 85-7, 97, 99, 104, 283; in Rhetoric, 104, 316 Rhetoric, 282, 335-9; Effective media of drama in, 337—40; First impression of drama and speech, 113, 338-9; in Histrionic art, 303-4; Repetition, 104, 316; Rhythmical (binding) speech, 332—3; Tendency in speech and drama, 339; see Drama, Words, art of Rhyme, 100, 247, 333, 353 Rhythm: as a Basis of music, 272-4, 278, 281; in Language, 96-7, 203, 282-3, 332-3; in Music, 97-8, 135- 6, 289-95; Necessary for social man, 250-1, 416; Objective nature, 90-100; in Poetry, 252-4, 332-3, 353-5; in Primitive art, 241, 244, 246-52, 261; Use of association through similarity to explain enjoyment of, 57; and Work, 247-50; see Movements, Rhetoric Rhythmic feelings, 134-7 Script: Art in handwriting and print, 361; Connection between drawing 450 Index of Subjects and writing, 234, 242, 244-6, 361- 2, 391 Sculptor and model, 201-2 Sculpture (plastic art), 371-8; Frequency relation between reliefs and statues, 358, 372; Monumental art, 61, 106-7, 371-2; Origin, 252-4; and Painting, 360-1; Plastic ornaments, 245; and Portrayal of movement, 375—6, 380; Primitive relief, 252-3; Relief and monument, 371- 2; Size of, 106—7; in System of the arts, 261-70; see Figurative art Sensualism, 35, 45-8, 183, 193, 202-3, 435 Sexual instinct, 18; of Children, 230- 1; Connection between sense of beauty and sexual love, 158, between beauty of human form and preservation of the species, 156-7, between artistic creation and sexual excitement, 184, between start of art and events of courtship, 240, 255-7; Eroticism and the dance, 260-1 Significance, see Substance Size, see Quantity Sketch, the, 36, 187-8, 380 Song, 98-9, 246-50, 262-4, 274-6, 286-7, 336-7 Sound: Origin of aesthetic qualities of, 124—5; Phonetic similarity and wit, 175-6; Symbolism, 293-4; and Tone, 279; Tone, meter, and pitch, 274-5; Tone color (timbre), 96, 113, 276-9, 282; Tone and color harmony, 75-6; and Word, 287; see Music Spatial art, 358-71; Abstract art of planes, 362-3; Abstract linear art, 79-90, 131-4, 240-4, 362-3; Comprehension of s. structures, 111; Connection with writing and drawing, 390-1; Decoration (compare useful art, architecture, figurative art), 265, 268; Distinction between, and figurative art, 358-62, 371-2, 376, 385-6; Form and empathy, 58; Relation of work of art and aesthetic value, 102, 109; Repetition in, 103-4, 362-3; Representation, 380-3, 386; see Ornament Speakers, see Actors Speech, see Language, Rhetoric Stage, the, see Theatrical art Style, 335-6; in Architecture, 57, 366- 71; Dramatic, 340-1; Epic, 347-8; Geometrical, 241-3; Naturalistic, 38 Stylistic investigation to discover first seeds of poems, 334 Sublime, the; and the Extraordinary, 213; as a Primary aesthetic form, 17, 150, 157, 158, 159-62, 168, 171 Substance (significance): Fanciful illusion as the ideal, of poetry, 324- 5; Idea, ideal, 39-43, 63-4, 106-7, 333-4; Relation of, and materials as basis for classifying the arts, 265-6; Unity of, and form, 44, 58; see Content Superstition among primitive peoples as factor in origin of art, 240, 246, 252, 256-7, 258-9, 260-1; and fairy tales, 177 Suspense, see Tension Symbolic utility, 364 Symbolism (symbols): in Caricature, 178-9; Confusion of, and reality, 142-3; in Graphic arts, 390-1; Language as, in drama, 341; Natural, of forms, 117, 138-9; Phonetic, 328-9; in Poetry, 209; Sensory appearance as, of deeper inner meaning, 63, 193; Tonal, 293-4 Symmetry, 79-81, 129-31, 241, 244, 264; Asymmetry, 72, 81, 241, 274, 335 Sympathy, 40, 58-61, 144, 207-8; see Empathy Talent, 39, 188-90, 194-5, 197, 202- 3, 225-6, 309-10; Special artistic, 198-204 Tales, see Fairy tales Taste: Changes of, 70-2; Development of, in children, 233; Independence of art, 18, 72—3, 182, 429; Role in history of aesthetics, 23 Technical necessities, dependence of form on, 80, 237-8, 243-4 Technical training, possibility of, 420-1 Techniques, 38-9, 149, 182, 189; of Children's art, 233; Dependence of, on size of work, 108-9; Dependence of artistic achievements on developing, of primitive art, 241-2; of Graphic artists, 392-3; 451 Aesthetics and Theory of Art Techniques ( cont. ) Musical, in dilettantism, 291-2; of Musical instruments, 281-2; of Painters, 77-8, 378-86; Peculiarity of, 46-7, 394-5; of Photographers, 393-5; of Poets and musicians, 199- 200, 202, 207; of Public speakers, 336-9; see Material, Media Tendency, 175, 339, 348-52, 427-8 Tension (suspense): Fear and compassion, 162-4; Feelings, 61, from high and low tones, 274, from colors, 130-1; Freeing, through artistic creation, 184-5; in Poetry, 127, 239, 334, 339—40, and music, 114-5; and Relaxation, 135-6 Theater (building), 369 Theatrical art, 300^-3, 311-9; Cultural importance of, and church, 302-3, 317, and education of youth, 422, and folk culture, 317-8; Effect of stage business, 113, 302-3; Independence of other arts, 250-1, 267, 300-3, 318; Meaning and purpose of, 317-9; Need for raised stages, 373; Social function of, 312-3, 317- 8; Stage and book drama, 339-40; Stage directions, 313-4, staging and direction, 311-3, 315; see Actors, Mimic art Timbre, see Sound Time, 93, 103, 111-2, 135-6, 380-2; Representation of, by words, 128, in music, 296-7, in superficial figurative art, 380; Temporal and spatial art, 103-4; see Meter Tone, see Sound Tragedy, 206, 247, 342-5 Tragic, the, 17, 119, 150, 162-8, 171 Travesty, 179 Type (what conforms to a class), 40-42, 101, 154-5, 198-9, 259, 342, 344, 377-8 Ugly, the: in sculpture, 377; in works of art, 39, 59, 63, 119, 150, 154, 168-71, 280-1 Unity (and diversity): in Art, 30, 43— 4, 55, 71-2, 73-4, 99-100, 136-7, 241, 409, 435-6; in Art of words, 330-1; Coherence of artistic creation, 185-6, 191-2, 198-9, 211-2; of Meter, 94-5; in Music, 279, 284- 5; in Spatial and figurative art, 362- 3, 376, 382-3; of Style, 37 Useful arts, 68, 105-6, 156-7, 255, 259-60, 358, 363-6; Distinction between craft and art, 69-71; Handwork and machine work, 199- 200; Japanese handicrafts, 239-40; of Primitive peoples, 243-4; in System of the arts, 265—6, 268; see Spatial art Utility (fitness, purposiveness): Concept of, in understanding nature, 68; Derivation of the beautiful from, 155-7, 254-5; as Factor in origin of art, 259-60; Influence of, on form of work of art, 80, 161, 243-4, 259-60, 364-5, 368-70; Purposive beauty (formal, subjective, symbolic fitness), 71-2, 364 Value, 29, 34, 62-4, 66, 81, 82, 86, 87, 120, 164, 165, 169, 284, 361, 363, 364, 389, 412, 426, 427, 432; Experienced, of space and time, 30-1; Stimulative, 169, 210, 292, 293; Vicarious (substitute), 123-4, 327, 335, 397, 403 Verbal art, see Words, art of Versification, 74, 92-3, 95 Wit, 172, 174, 175-7, 180 Words, art of (verbal art), 320-57, 192-3; Difficulty of transposing inner life into words, 212-3, 298; the Linguistic as essence of poetry, 127, 210, 246, 325-6; Quantitative distinctions, 104; Subordinate kinds, 336; in System of the arts, 260-70; Transformation of reality in language, 192-3, 333-5; a World in itself, 322-35; see Drama, Epic, Intuitive immediacy, Language, Lyric, Metaphor, Rhetoric Words: Authors. 181-227. Attitude toward life and people, 195-6, 213. Independence of outer life, 222-3. Relation to reality, 197-8. Understanding of human nature, 204-15, possessed by subjective and objective authors, 198-9. Pictorial and musical disposition, 202-3. Passive and active natures, fickle and constant characters, 213-4. Comparison 452 Index of Subjects with the figurative artist and musician, 331-2. Overcoming difficulties, developing technique, 199— 200, 207. Morality, 428-30 Words: Experiences. Intellectual feelings and feelings of content in the first experience, 113-4, 352. Tension, 114-5, 127, 334. Individual factor, 116. Wavering of attention, 115-6. Imaginative activity of the appreciative reader and listener, 330-2. Also 110-148 Words: Literary works. Intellectual aspect, 42-3, 324; public appraisal of it, 42. Mass distribution, 417. Ambiguity of the work of art, 41. Inclination to excessive size, 103. Limits of possible empathy, 108. Literature in German instruction, 422-3. Also 62-109 453 |
