1920 CONTENTS OF VOL. III THIRD PART THE SYSTEM OF THE PARTICULAR ARTS INTRODUCTION [Summary. Nature of the relation between the system of Art-types, or the collective totality of ideal world-presentments, and their objective realization in independent works of art. Nature of the process in the evolution of the specific arts themselves, and of the aspects identical in all. The origins of art. Grace, Charm, and severe or agreeable Style] DIVISION OF THE SUBJECT [The principle of differentiation as determined by the sensuous aspect of the subject-matter, and the relation thereto of the human senses of Sight, Hearing, and intellectual Conception. Insufficiency of such a principle of classification. Alternative principle discussed and illustrated of more concrete nature, in which the evolution of truth as the reality of the Idea itself is presented] SUBSECTION I ARCHITECTURE INTRODUCTION [Of the beginnings of human art, and that of building in particular.
Of the nature of the subordinate classification of architecture viewed as symbolic, classical and romantic] Division of Subject CHAPTER I INDEPENDENT AND SYMBOLIC ARCHITECTURE Introduction and Subdivision 1. Works of architecture erected in order to unite peoples 2. Works of architecture intermediate between the arts of building and sculpture (_a_) The influence of the generative activity of Nature on the form of buildings (_b_) Further modification of similar conceptions in the obelisks of Egypt and other examples (_c_) Temple enclosures, labyrinths, etc.
3. The transition from self-substantive architecture to the classical type (_a_) The nature of subterranean dwellings (_b_) Construction raised to house the dead in Egypt and elsewhere.
The Pyramids (_c_) Buildings that directly subserve a purpose as the point of transition to the classical type. The ordinary dwelling. The environment of the sculptured image. The adoption of the principle of expediency. The abstraction of parts of a building from the organic form, _e.g._, in the column CHAPTER II CLASSICAL ARCHITECTURE Introduction and Subdivision 1. The general character of classical architecture (_a_) Serviceableness to a definite end (_b_) The nature of the fitness or power of adaptation of such a structure to such an end (_c_) The relatively greater artistic freedom of such architecture.
Architecture as frozen music. The dwelling-house 2. The fundamental determinants of architectural forms in their separation (_a_) Buildings of wood and stone. The question of their historical priority (_b_) The specific forms of the parts of a temple-dwelling.
[(_α_) Features of support. The column (_β_) The thing supported. The entablature, in its architecture, cornice, etc.
(_γ_) That which encloses. The walls and partitions] (_c_) The classical temple in its entirety [(_α_) The horizontal rather than soaring-up character (_β_) The simplicity and proportion (_γ_) The nature of its elaboration] 3. The different constructive types of classical architecture (_a_) The Doric, Ionian, and Corinthian types, compared and contrasted (_b_) The Roman type of building. The vault (_c_) General character of Roman architecture CHAPTER III ROMAN ARCHITECTURE 1. General Architecture 2. Particular architectural modes of configuration (_a_) As the basic form we have the wholly shut away dwelling-house [(_α_) Relation of this form to the ideal character of the Christian religion (_β_) Exclusion of light and access to mundane life (_γ_) The aspect of soaring in tower and pinnacle] (_b_) The form of the exterior and interior [(_α_) The figure of the square and rectangular roofing not appropriate. Parallel between the vaulting of a Gothic church and a roofing of forest trees. Distinction between piers and columns. The pointed arch. Distinction between choir, transept, nave, and aisles.
The baptismal font and entrance (_β_) In contrast to the Greek temple decoration and and general coordination of parts determined from within outwards. The form of Cross. The doors. Flying buttresses, pinnacles, and towers] (_c_) The mode of decoration [(_α_) Importance of ornament to Gothic architecture (_β_) Lightness and delicacy a prevailing feature, especially on the outside (_γ_) Display of romantic imagination therein] 3. Different types of building in romantic architecture (_a_) The pre-Gothic architecture distinct from it. The basilica (_b_) Genuine Gothic architecture of the thirteenth century (_c_) Secular architecture of the Middle Ages. The art of garden-making SUBSECTION II SCULPTURE INTRODUCTION [Sculpture makes a direct use of the human form instead of accepting a symbolical mode of expression merely suggestive of spiritual import.
Does not primarily express emotion or spiritual life in action or the focus of soul-life. Absence of colour] Division of subject CHAPTER I THE PRINCIPLE OF GENUINE SCULPTURE 1. The essential content of sculpture [(_a_) The twofold aspect of subjectivity. The province of subjective life as such to be excluded from sculpture. The Divine presented in its infinite repose and sublimity (_b_) Presents a spiritual content only as explicit in bodily shape] 2. The beautiful form of sculpture (_a_) The exclusion of the particularity of the appearance. How far relative (_b_) The exclusion of incidental facial expression (_c_) Substantive individuality 3. Sculpture as the art of the classical Ideal CHAPTER II THE IDEAL OF SCULPTURE Introduction and division of subject 1. The general character of the ideal form of sculpture (_a_) The free product of the genius of the artist. General content borrowed from mythology, etc.
(_b_) The animation which results from the plastic perfection of the integrated coalescence of the whole throughout its definition and relief (_c_) No mere imitation of Nature. The external shape must be suffused with ideal content] 2. The particular aspects of the ideal form of sculpture as such (_a_) The Greek profile. Contrast of the human mouth with that of animals. The projection of the forehead. Position of nose.
Consideration of the human eye and ear. Beauty of the human mouth.
Treatment of the chin in sculpture, also the hair (_b_) Position of other parts of the human body and the motion thereof [(_α_) The nature of the relation under which the limbs are associated in their contribution to spiritual ideality. The upright position (_β_) The motion and repose of the same in their freedom and beauty (_γ_) The type of position and motion adapted to a situation (_habitus_) or bodily habit under which the Ideal is expressed] (_c_) Drapery [(_α_) Ethical origin and artistic justification of, in sculpture (_β_) Treatment of it by Greek sculpture (_γ_) Artistic principle as determining the right emphasis on ideal significance. Contrast between antique and modern sculpture in the use of it] 3. The individuality of the ideal figures of Sculpture (_a_) Incidental attributes and style of drapery, armour, etc., treated by sculpture. Distinguishing symbolic accessories of Greek gods (_b_) Distinctions of age and sex in gods, heroes, human figures, and animals (_c_) Representation of particular gods CHAPTER III THE VARIOUS KINDS OF REPRESENTATION, MATERIAL, AND THE HISTORICAL STAGES OF THE EVOLUTION OF SCULPTURE Introduction and division of subject 1. Modes of Representation (_a_) The single statue (_b_) The group. Tranquil juxtaposition. Conflicting actions. Niobe.
Lacoon (_c_) The relief 2. The material of sculpture (_a_) Wood (_b_) Ivory, gold, bronze, and marble (_c_) Precious stones and glass 3. The historical evolution of sculpture (_a_) Egyptian sculpture. Deficiency of ideal spontaneity. Position of hands and arms. Position of eyes (_b_) Sculpture of the Greeks and Romans (_c_) Christian sculpture SUBSECTION III THE ROMANTIC ARTS INTRODUCTION [The principle of subjectivity as such. How it is accepted as the essential principle by romantic art. The contrast presented by romantic and classical art in the changed point of view. The effect of such a change on both the subjective side of soul-life and the external aspect of objective presentment. The process of the gradual idealization of the external medium of art itself as illustrated by the particular romantic arts and the necessity thereof] CHAPTER I THE ART OF PAINTING Introduction and division of subject I. General character of Painting (_a_) Fundamental definition of the art. Combines the subject-matter of architecture and sculpture. More popular than sculpture [(_α_) Individuality must not be suffered to pass wholly into the universality of its substance. Introduction of accidental features as in Nature (_β_) Greatly extended field of subject-matter. The entire world of the religious idea, history, Nature, all that concerns humanity included (_γ_) A revelation further of the objective existence of soul-life.
Vitality of artist imported into his presentation of natural objects] (_b_) The sensuous medium of Painting [(_α_) Compresses the three dimensions of Space into two. Its greater abstraction, as compared with sculpture, implies an advance ideally.
Its object is semblance merely, its interest that of contemplation.
The nature of its locale (_β_) Its higher power of differentiation. Light its medium. This implies, even in Nature, a movement towards ideality. The appearance of light and shadow in painting intentional. Form is the creation of light and shadow simply. This fact supplies rationale of the removal of one dimension from spatial condition (_γ_) This medium enables the art to elaborate the entire extent of the phenomenal world] (_c_) The principle of the artistic mode of treatment [Two opposed directions in painting, one the expression of spiritual significance by interfusion with or abstraction from objective phenomena, the other the reproduction of every kind of detail as not alien to its fundamental principle. Illustrations of the two methods and their relative opposition, or reconciliation] 2. Particular modes in the definition of Painting (_a_) The romantic content [(_α_) The Ideal which consists in the reconciliation of the soul with God as revealed in His human passage through suffering. The religious content. The Love of religion (_αα_) The representation of God the Father. Generally beyond the scope of painting. The famous picture of Van Eyck at Ghent (_ββ_) Christ the more essential object. Modes of depicting him in his absolute Godhead or his humanity. Scenes of Childhood and Passion most fitted to express religious aspect. Love of the Virgin Mary. Contrast with Niobe (_γγ_) The ideas of devotion, repentance, and conversion as such affect humanity in general when included in the religious sphere. The pictorial treatment of martyrdom (_β_) The pictorial treatment of landscape (_γγ_) The pictorial treatment of objects in natural or secular associations. The vitality and delight of independent human existence.
Art secures the stability of evanescent phenomena. The influence of artistic personality on the interest] (_b_) The more detailed definition of the material of pictorial representation [(_α_) Linear perspective (_β_) Accuracy of drawing of form. The plastic aspect of a pictorial work (_γ_) The significance of colour. Modelling. Of gradations of colour and its symbolism. Of various schemes of colour. Colour harmony.
The painting of the human flesh. The mystery of colour The creative impulse of the artist] (_c_) Artistic conception, composition, and characterization [Painting can only embody one moment of time. Concentration of interest. The law of intelligibility. Religious subjects, their advantage in this respect. Historical scenes as appropriate to particular buildings. Unity of entire effect. Raphael's Transfiguration. Of the treatment of landscape as subordinate.
The grouping of figures. The form of the pyramid. Comparison of the characteristic in painting and sculpture. The treatment of love's expression in religious subjects. The gradual elaboration of the portrait. The situation which is itself a critical moment in characterization] 3. The historical development of Painting (_a_) Byzantine painting (_b_) Italian painting. General review of its spirit in religious and romantic subject-matter [(_α_) Characteristic features of early type: austerity, solemnity, and religious elevation (_β_) The free acceptance of all that is human and individual. The influence of Giotto. Later schools mark a still further advance in naturalism. Masaccio and Fra Angelico. The pictorial representation of secular subjects (_γ_) Further advance in power of emotional expression. Leonardo da Vinci, Perugino, Raphael, and Correggio.]
(_c_) The Flemish, Dutch, and German schools [(_α_) The brothers Van Eyck. Innocence, naïveté, and piety of early Flemish School. Contrast with Italian masters (_β_) The emphasis by North German painting on ugliness and brutality (_γ_) Dutch painting. Historical conditions of its appearance. General characteristics of Dutch art] CHAPTER II MUSIC INTRODUCTION [Summary. The principle of subjectivity, as realized in painting, contrasted with its complete emancipation in the art of music.
Annihilation of spatial objectivity. Motion with its resultant effect in musical tone. Analysis of the twofold negation of externality in which the fundamental principle of musical tone consists. The inner soul-life exclusively the subject-matter of music. Addressed also in its effect to such] Division of subject 1. The General Character of Music (_a_) Comparison of music with the plastic arts and poetry [(_α_) Both affiliated to and strongly contrasted with architecture.
It resembles architecture in the nature of the configuration of its content as based on rigorously rational principles directed by human invention. It supplies the architectonic of the extreme of ideality as architecture supplies that of the external material of sense. The quantitative or measure relation is the basis of both (_β_) Music further removed from sculpture than painting. This is not merely due to the greater ideality of latter, but also to its treatment of its medium. The unity realized by a musical composition of a different kind to that realized by the plastic arts. In the former case subject to the condition of a time-series (_γ_) Most nearly related to poetry. Employ the same medium of tone.
Poetry possible without speech-utterance. Ideal objectivity of poetry as contrasted with the independence of musical tone as the sensuous medium of music. Music as an accompaniment of the voice] (_b_) Musical grasp and expression of Content [(_α_) Primarily must not minister to sense-perception. Must make soul-life intelligible to soul. This abstract inwardness differentiated in human feeling, of every description (_β_) Natural interjections not music. They are the point of departure. To music belongs intelligible structure, a totality of differences capable of union and disunion in concords, discords, oppositions and transitions. The nature of its relation to positive ideas] (_c_) Effect of music [(_α_) The evanescent character of the objectivity of music. It seizes on conscious life where it is not confronted with an object.
Its effect due to an elementary force. Appeal to man as a particular person. The soul made aware of its association with Time. Analysis of the notion of Time (_β_) Must also possess a content. Orpheus. Incentive to martial ardour and enthusiasm (_γ_) Necessity of repeated reproduction. Personal relation of the executive artist to the same. Excess of this influence] 2. The particular definition of the means of expression in music (_a_) Time-measure, beat, and rhythm [The relation of Time to the fundamental principle of subjective life. Time-measure prevents the series being indefinite and devoid of content, and further regulates by intelligible division the nature of its advance. Time-beat possesses the same function as the principle of symmetry in architecture. Coordinates a fortuitous variety.
Distinct kinds of time-measure. Rhythm gives vital significance to the time-measure and beat. The accent. The rhythm of melody. The analogous example of verse. Handelian music] (_b_) Harmony [(_α_) Difference of sound through different instruments of music.
Artificially made. Instruments which possess an oscillating column of air, or a stretched string of gut or metal which vibrates. The kettledrum and harmonica. The human voice. Can be employed in separation or combination (_β_)Tone in its own essential definition. The constitution of harmony as such. The theory of intervals. The scales and keys. Numerical relations of tones and their pitch. Accordant and discordant tones.
The octave and other intervals (_γ_) The system of chords. The triad. Dissonant chords of the seventh and ninth. The resolution of a dissonance. Transitions and modulations of harmony] (_c_) Melody [(_α_) The more poetic aspect of music. Inseparable from the theoretical means which creates it. No real surrender involved in its subjection to rules of harmony (_β_) Simple melodies. Folk-songs. Part chorales where each note of melody represented by a chord. Musical composition as an illustration of the conflict between the principles of freedom and necessity (_γ_) General character of genuine melody. As such reflects free 3. The relation between means of expression in music and its content (_a_) Music as an accompaniment [(_α_) The melodic expression of such music. Ought not to fall into excess of tumult. Palestrina, Durante, Haydn, Mozart, etc. Beauty of Italian music (_β_) The differentiation of the mode of musical expression must correspond with the nature of a specific content and its situation.
Such a content supplied by the libretto. Distinction from this of a song. The recitative. Defective unity (_γ_) The nature of the condition of concrete unity in the libretto and declamatory recitative. A good libretto not wholly unimportant.
Must be stamped with self-consistency. The libretto of Mozart's "Magic Flute." Comparison of the sustaining soul of music with the fundamental beauty of Raphael's paintings. Different forms of music as accompaniment. Church, lyrical, and dramatic music] (_b_) Independent music (_c_) The artist as Executant [(_α_) The ordinary executant who simply executes what lies before him. Comparison with the rhapsodist or reciter of Epos. Player must lose himself in music and reproduce composer (_β_) The virtuoso, who himself creates and makes the music a means of personal display. Must not merely show eccentricity, but reveal the life of music and the force of a personality] THIRD PART THE SYSTEM OF THE PARTICULAR ARTS THE PHILOSOPHY OF FINE ART INTRODUCTION The objects treated by our science in the _first_ part were the general notion and the reality of beauty in Nature and art, in other words beauty in its truth, and art in its truth, the Ideal in the as yet undeveloped unity of its fundamental principles, independent of its specific content and its distinguishing modes of envisagement.
This essentially genuine[1] unity of the beautiful in art, in the _second_ place, unfolded itself within its own resources in a totality of art-forms, whose determinate structure defined at the same time the content which the art-spirit was impelled to fashion from itself in an essentially articulate system of manifestations of beauty under which the Divine and human is envisaged to the world.
What still is absent from both these spheres is the reality that is present within the elementary substance of the _external_ phenomenon itself. For although both in our examination of the Ideal as such, and in that of the specific modes of symbolic, classical, and romantic art, we throughout referred to the relation or complete mediation which obtains between the significance conceived as an ideal principle and its embodiment in the external or phenomenal _materia_, yet this realization merely retained its validity as that which was still exclusively the _ideal_ art-activity in the sphere of general world-impressions[2] of beauty, in and through which it is diffused.
Inasmuch, however, as the fundamental conception of beautiful implies, that it make itself objective for the immediate vision, that is to say for the senses and sensuous perception as an external work of art, so that what is beautiful becomes only then itself through such a definite form appropriate to itself explicitly united with the beautiful and the Ideal, we have in the _third_ place to review this territory of the art-product as actually self-realized in the entirely sensuous medium. For it is only through this final configuration that the work of art is truly concrete, an individual entity which is at once real, self-contained, and singular. The Ideal can only constitute the _content_ of this third sphere of our aesthetic philosophy for the reason that it is the idea of the beautiful, in the collective totality of all its world presentments, which is thus self-realized in objective form[3]. For this reason the art-product is still, even up to this point, to be conceived as a totality articulated in itself, nevertheless as an organism, whose organic parts, which--while in the second part of our inquiry they were differentiated under a collective concept of essentially disparate world-aspects--now fall asunder as isolated members, every one of which becomes independently a self-subsistent whole, and in this singularity is capable of bringing into display the totality of the different art-types. Essentially and in accordance with its notion it is quite true that the collective result of this new reality of art belongs to _one_ single totality.
Inasmuch, however, as it is a portion of the realm of the sensuous[4] present, in which the same is made real to itself, the Ideal is now resolved into its phasal states as a process[5], and confers on them an independent and self-subsistent stability, albeit they are capable of coming into juxtaposition, essential relation, and reciprocal reintegration with one another. And this real world of art is the system of the _separate_ arts. Just as then the particular types of art, regarded throughout as totality, expose intrinsically a process, an evolution, that is, of the symbolical to the classical and romantic types, we find also, on the one hand, a similar advance in the particular arts, in so far as it is the very art-types themselves which receive their determinate existence through these specific arts.
From another point of view, however, the particular arts have also themselves within them a process, a progression, independently of the art-types to which they attach an objective reality, a process which in this its more abstract relation is _common to all._ Every art possesses its spring-time of perfected elaboration as art, and on the one side or the other a history that precedes or follows this period of full-bloom.
For the products of the arts collectively are spiritual products, and consequently are not at once to hand in their own specialized province respectively, as are the forms of Nature, but are subject to a beginning, progression, completion, and termination, a growth, a blooming, and a decay.
These more abstract differences, whose devolution we propose at the very commencement of our inquiry briefly to indicate, since it asserts itself equally in all the arts, are identical with that which it is usual to define under the name of _rigorous_, _ideal_, and _approved_ style, when indicating the specific styles of art in each case, which are mainly related to the general mode of embodiment and representation, partly as considered in its external shape, and its possession or lack of spontaneity, its simplicity, its surfeit of detail, briefly in all its various aspects, according to which the definition of the content emerges in the external appearance; partly no less in its aspect of the technical elaboration of its sensuous material, in which the art in question gives determinate existence to its content.
It is a common assumption that art finds its beginnings in what is devoid of complexity and is _natural._ In a certain sense, no doubt, we may accept this as true. In other words what is rude and barbarous is without question, when contrasted with the genuine spirit of art, something both nearer to Nature and less complex. What is, however, natural, vital, and simple in art, regarded as fine art, is something quite different to this. All beginnings which are merely simple and natural, in the sense of uncouthness, do not as yet belong to the province of art and the beautiful at all as, for example, in the case where children scrawl simple figures, and with a few formless strokes would indicate thereby a human form, a horse, and so forth. Beauty, considered as a spiritual product, demands even from the start an elaborate technique, implies a long series of experiment and practice.
Simplicity, when we refer to it as the simplicity of the beautiful, its ideal proportions, is rather a result, which only succeeds in overcoming the variety, medley, confusion, excess and incumbrance of its matter, and in concealing and effacing its preparatory studies, after much mediating work, so that at last Beauty, with all its unfettered spontaneity, appears to us as though liberated in one cast[6]. What we find here is very analogous to the behaviour of a man of education, who, in all that he says and does, moves simply, spontaneously, and with ease, albeit he did not by any means start in the possession of such simple spontaneity, but rather has only secured such as the result of a thorough self-training.
For this reason it is no less in accordance with the nature of the fact than it is with the actual course of history that art in its beginnings rather presents us the appearance of _artificiality_ and clumsiness, running largely into incidental detail, and generally overloaded with the elaboration of drapery and the environment of its subject-matter; and precisely in the degree that this external material is more compact and multifarious, to that extent that which is really expressive is reduced to its baldest terms; in other words what is truly the free and vital expression of Spirit in its forms and motion is that which is here least in evidence.
In this respect consequently the primitive and most ancient art-products in all the particular arts are the vehicle of a content that is essentially most abstract, such as simple tales in poetry, theogonies effervescent with abstract thoughts and their incomplete elaboration, single objects of sacred association in stone and wood and so forth, and the representation remains unaccommodating, monotonous or confused, stiff and dry. More especially in plastic art the facial expression is insipid with a repose which does not so much express spirituality in its essential penetration as a purely animal emptiness, or conversely is remorseless and exaggerated in its emphasis on characteristic traits. In the same way the bodily forms and their motion are devoid of life, the arms, for example, are glued to the body, the legs are not divided, or are clumsily moved, or in angular and constrained modes; and in other respects such figures are ill-shaped, suffer from narrow compression, or are excessively lank and extended. On the other hand we find that much more devotion and industry is spent upon accessories such as drapery, hair, weapons, and ornaments of a similar nature; the folds of the drapery remain wooden and independent, without being able to accommodate themselves to the limbs, just as we may often see for ourselves in images of the Virgin and saints of early times, where they are in part run together in monotonous regularity, and in part are continually broken up in harsh corners, not flowing freely in their lines, but scattered about with diffuseness over too wide a surface. And in the same way the first attempts at poetry are full of breaks, devoid of connection, monotonous, dominated in an abstract way by one idea or emotion, or elsewhere wild, violent, the particular being obscurely assimilated, and the whole as yet not bound together in a secure and ideal organic unity.
It is only, however, after such preparatory work as the above that the style which is the main subject of our present inquiry commences with what is truly genuine fine art. In this it is no doubt in the first instance at the same time still _austere_, but already moderated with more beauty in its severity. This severe style is the more lofty abstraction of the beautiful, which comes to a stop with that which is of real importance, expresses and reproduces the same in its broad outlines, still disdains all amiability and grace, suffers the main subject-matter alone to assert itself, and preeminently expends very little industry and elaboration on what is incidental. And in doing so, this severe style also still adheres to the imitation of that which is immediately given to sense. In other words, just as, in regard to content, it takes its stand, so far as ideas and representation are concerned, in what is given it, in the tradition, for example, of a revered religion, so also, to take the opposite point of view, namely, that of external form, it will merely render assured the fact itself, and not its own invention. It is, in short, satisfied with the general broad effect that is educed from the fact, and follows in expression closely upon the growth and definite existence of this. In the same way everything that is accidental is held aloof from this type of style, in order that the caprice and spontaneity of the individual mind[7] may not appear to be involved in it. The motives are simple, the objects of representation few[8]; and for this reason no considerable variety in the detail of configuration, muscles and motion, is apparent.
_Secondly_, the ideal, purely beautiful style hovers between the simply substantive expression of fact and the fullest exposition of all that immediately pleases. We may define the character of this style as the highest degree of vitality compatible with a beautiful and reposeful greatness, such as we admire in the works of Pheidias or Homer. It is a living presentment of all traits, shapes, modifications of such, motions, limbs, in which there is nothing without significance and expression, but everything is instinct with life and action, and testifies to the breath, or very pulse of free life itself on the merest glance at the work of art in question; a vitality, however, which essentially makes visible one totality, and only one, is the expression of one content, of one individuality of action.
It is in such a truly vital atmosphere that we find moreover the breath of grace poured forth over the entire work. Grace is indeed a concession to the hearer and spectator, which the severe style despises. At the same time, whenever Charis, that is Grace, is asserted in the presence of an onlooker, if only as an acknowledgement, a means of conveying pleasure, yet in the ideal style we find that such a presence appears entirely divested of any craving to confer merely pleasure. We may perhaps explain our meaning in more technical language. The fact or subject-matter is here the substantive in its concentration and self-absorption. During the process, however, that it is manifested through the medium of art, and is, so to speak, concerned to actually exist for others, to pass over, that is, from its simplicity and essential solidarity to particularization, articulation, and individualization, we may regard this development to an existent form for others as at the same time a kind of complaisance on the part of the predominant matter, in so far, that is, as it does not appear to require this more concrete mode of existence, and yet is wholly poured forth into it for us. Such a charm as this is only entitled to assert itself in such a style so long as what is really substantive also persists in undisturbed self-possession, as we may call it, over against the grace of its manifestation, which blooms forth entirely in outward guise as an original type of superfluity. This indifference of the ideal or inner self-assurance[9] for its existence, this repose of itself on itself is precisely that which constitutes the beautiful negligence of the grace, which attributes no immediate value to this, its mode of manifestation. And it is just in this that we must look for the loftiness of the beautiful style. Beautiful free art is careless in its attitude to the external form, in which it refuses to let us see any peculiar movement of the mind, or any end or intention.
Rather in every expression, every modification, it points to one thing only, and that is the idea and vital principle of the whole. It is only by this means that the Ideal of the beautiful style asserts itself, which is neither harsh nor severe, but already shows the softening influence of the cheerful notes of the beautiful. Though no violence is done either to any feature of expression, any part of the whole, and every member appears in its independence, and rejoices in its own existence, yet each and all is content at the same time to be only an aspect in the total evolved presentment. This it is which alone displays, alongside of the depth and determinacy of individuality and character, the grace of Life itself. On the one side we have indeed merely the substantial subject-matter predominant, but in the detailed exposition, in the lucid, and at the same time exhaustive variety of traits, which complete the definition of the appearance, and place it before us in its transparent vitality, the spectator is at the same time freed from the thing in its baldness, in so far as he possesses and is wholly face to face with its concrete life. By virtue, however, of the last mentioned fact, this ideal style, so soon as it carries this modification in its external aspect to yet further lengths, passes over into the so-called _agreeable_ or pleasing style. Here we have the assertion of another intent than the mere vitality of the fact[10].
The giving of pleasure, the active elaboration in the direction of externality is asserted as itself an object, and is a matter of independent concern. As an example we may take the famous Belvedere Apollo, not indeed as itself belonging to this latter style, but at least marking the transition from the lofty style to that of sensuous attraction. And inasmuch as in an art of this kind it is no longer the single actuality itself to which the entire embodiment is referable, the particular details become under this mode, even though in the first instance still deducible from the central object itself and rendered necessary by means of it, more and more for all that independent.
We feel that they are introduced, or interpolated, as ornaments, intentional additions of episodical import. And yet for the very reason that they are only related to the object accidentally and only receive