PRESCHOOL

THE

AESTHETICS
Part II
BY

Gustav Theodor Fechner.

LEIPZIG

PRINTING AND PUBLISHING OF Breitkopf & Hrtel. 1876

Content. XIX. The art of conceptual aspects XX. Remarks on analysis and criticism of art XXI. About the dispute between the shape esthetician and esthetician salary in relation to the visual arts XXII. The question of how far I depart the art of nature. Idealistic and realistic direction XXIII. Beauty and characteristics XXIV.ber some major deviations in the art of nature 1) violations of the unity of space, time and the person 2) Deliberate restriction of the detailed design. Omission of side things 3) avoidance palpable relief in translucent paintings 4) translations into ancient and modern XXV. Preview of the three following sections XXVI. Style, stylize XXVII.Idealisieren XXVIII. Symbolize XXIX. Comment on a Aussprudle K. Rahl XXX. Preference argument between art and nature

XXXI. Fantasy view of beauty and art

XXXII. The terms of grandeur XXXIII. About the size of works of art, especially paintings, from an aesthetic point of

XXXIV. On the question of colored (polychrome) Sculpture and Architecture 1) Sculpture 2) Architecture XXXV. Contribution to aesthetic theory of colors 1) From the direct impression of colors 2) From the direct and associative impressions of the White and Black XXXVI. Preface to a second series of aesthetic laws or Prinzipe XXXVII. Principle of aesthetic contrast, the aesthetic result and reconciliation 1) Principle of aesthetic contrast 2) principle of the aesthetic result 3) principle of aesthetic reconciliation Xxxviii. Principle of summation, exercise, blunting, habituation, supersaturation XXXIX. Principle of persistence, and degree of change in employment 1) Principle of inertia and the change in the type of employment 2) Principle of measurement and change in the degree of employment XL. Principle of manifestation of pleasure and pain XLI. Principle of the secondary imagination pleasure and pain XLII. Principle of the aesthetic center XLIII. Principles of economic use of funds or the Least Action. Question about the most common reason of pleasure and pain. Principle of tax collector. Principle a tendency to stability. Herbartsches principle XLIV. Appendix section of the legal proportions of the gallery images 1) Introduction 2) distribution boards and determination pieces of gallery images 3) asymmetry and deviation ratios, Extreme h 4) Provisions on the ratio between height and width b 5) Mabestimmungen for the surface area hb 6) distribution laws and preservation of the same 7) Further provisions on the situation the investigation Addition to Th I feel about the colors of the vowels
Used Catalogs

XIX. The art of conceptual considerations.

The art in the narrower sense in which we will deal with it here, is one of the most significant factors in the higher sense of human life, and their works provide the highest and most complex applications of aesthetic laws. So their view is a major task of the higher aesthetic. Meanwhile, the art classified in this narrow sense a much broader terms of art under, and will be much good stuff to preface their conceptual position within this wider circle. In the broadest, but hereby transcending far beyond the aesthetic field, the meaning is understood namely in art in general, the methodological, ie happening with conscious intent as determined by more or less rules and of acquired skill, creation of works or facilities which serve purposes of man. If it is now in the process to the immediate attainment of pleasure purposes by sensory means, one has the pleasant and fine arts, which differ from each other only by the height of their power, however, when it comes to purposes that are only indirectly to the preservation and promotion of human welfare or serve to raise or prevention of disadvantages, the useful arts, including the crafts, as such shoemaking, pottery, carpentry, etc. from the point of view of a lower, statesmanship, education, art, medicine, etc, from the standpoint of a higher utility of . include Although we are accustomed to rarely use the former word art, just because you have the word for this craft, however, they always remain subordinate to the general concepts of art. A strict distinction between the pleasant and beautiful of the useful arts or pure coordination same course does not take place, only the predominant point of view they can be separated. After all of the works of the fine arts, than as a drama, a music, a painting, you will require or wish they making act out the next and predominant aim directly to awaken a higher than mere sensual pleasure, the mind So use by their consequences; reversed by the works of the useful arts, as such a shoe, a vessel, a table that they appear out of the use to which it is set apart in the main and first among them, immediately pleasing. Also, some skills can be more soon after one more soon turn to the other side, or both sides to be equally just looking. Thus, especially the rhetoric, the architecture and the combined under the term art industry so-called small or technical arts which are concerned with the making of equipment, vessels, furniture, weapons, clothes, carpets, etc., even a large part of the useful arts to unite the claims to be both pleasant and fine arts. Can not be fulfilled while in other useful arts, such as the craft of a butcher, of food sweeper, the art of dentistry, etc that assumption because the immediate benefits of these arts are more in the sense of pain than pleasure. In the narrow sense, the aesthetics only holds and we therefore hold our hand here, you understand at all under art only the pleasant and beautiful arts, or even just the fine arts and its role is determined to represent the beauty in the narrow sense, di higher, more valuable to arouse lust by using funds immediately as merely sensuous or sensual pleasure ever lower.As the relationships and things in ordinary reality, what they call it, ie the nature and human life apart from fine art are, they rarely pure and completely fulfill this purpose, and so the fine arts come together with the intention of supplementing ordinary reality and a survey about time. As little as the pleasant and beautiful of the arts are both useful to distinguish the former from each other by a sharp boundary. Firstly because there is no other than

merely relative or arbitrary staked height difference between pleasant and nice, which can be, for example, in doubt whether to keep the art beautiful vessels and dance high enough to make them beautiful in the in the narrow sense or simply take in the pleasant arts, the second the lower senses pleasing Pleasant is widely used in the higher sense the pleasing beauty as an effective element and thus can also be a pleasant art come into the service of a fine. Here, as everywhere, where there is no sharp demarcation in the matter takes place, the trouble is that one may give a sharp distinction between the terms against each other; fruitless. It is customary to art and nature juxtapose. Now the concept of nature is conceived differently, and only after this Act takes the ways of nature in contrast to those. Once you understand by nature the essential nature of a thing, which you can just as well as speak of the nature of a work of art from a natural body, and secondly the physical appearance world to the inner spiritual, after which the marble of a statue just as good as that of a mountain part of nature. In contrast to art but is meant by nature just only what, apart from Art in the outer areas of expertise arises and exists, and, of course, depending on whether one or more art closely bordered, narrows or widens the concept of opposite nature. The fine arts, especially the visual opposite, also known as well that which exists outside of it in the outer areas of expertise, common reality or reality as such. From other aspects of nature is given to the art of science and religion over by the care of beauty or imagination to the same in the life of art, the truth of science, which is the good of religion and adherent to their morale prey. After this connexion three highest ideas but what opportunity was on the 2nd Speaking sections, one has to statuieren also a dependent relationship between art, science and religion, about which very gen-eral, wide and deep, can hire considerations, which we will not go into here but, to within the limits of observation the art to remain itself. How broadly or narrowly one may grasp the field of fine arts, a classification and sub-classification is the same possible from different points of view, as notably by the means of representation, forms of representation, representation of objects, modes of action, circumstances under which the arts are intended to work, philosophical viewpoints of different type and direction. Namely, under certain circumstances every aspect of commonality that links several arts and differs from other arts to be highlighted to make claim, after which the aesthetics could set the task to systematically carry out the possible classification methods and shortcut methods of the arts in this regard. It was just a the mind subjectively and objekiv tedious and difficult sufficiently profitable business because it can care less, the conceptual relationships of the arts to all be variously branching, intertwining, intersecting directions fully and openly, as the un-disputed aesthetically effective combinations of to investigate agents that have come into the commonly under various arts to bear for their services. Very cogent, concise and heed worth in this respect, what Lotze p 489 of his history says, after mentioning various attempts at classification of the arts: "In the world of thought and concepts all the items have not only a systematic order, which invariably

fixed objects, but the connection of things is organized so all sides that we discover in every direction in which you crossed him, a special inner meaningful projection of its microstructure None of the above classifications is now wrong;. every emphasizes one of these valid relationships, a certain average of the case one of the cleavage directions out who you are, of course, but strange is the zeal with which each new attempt looks to be the final and only true and preceding regarded as sober and subdued positions ". Next: page 304: "It is of little value, only to look sharp term limits for the individual arts, no doubt each individual product to a subordinate of them." The philosophical esthetician course is found in the top of his swing driven to derive as necessary from the general concept and essence of art demgeme out a breakdown of the concept and essence of art and thus to divide the same way, even in principle binding. And why not, except that the full extent of the concept and essence of art is not merely the possibility of, but very many ways breakdown is included just in different directions, as you can also share the same cogent people in different directions. By now but to satisfy the speculative philosophical aestheticians his needs in his way while the traditional classification of the arts still hold searches, tests arise, such as the Lotze s business. (P. 454 ff) has several listed that I unhappy and unproductive call, provided that the traditional distinction of the arts not for the consequence of a profound system but after a particularly intrusive predominance or meeting soon this is soon made those external moments, which neither a clear nor sharp expression in the abstruse in those experiments. In fact, it is a very superficial bezglicher on the nature of the means of representation point of view, according to the commonly distinguished from the outset Arts decay into two main classes. With this hit very unsystematic other aspects together in distinguishing the individual arts. The individual arts go back over by intermediate links in each kind of manifold connections and go with each one. The factual situation in this respect can be traced with clarity, and make various interesting remarks in mind, one must dispense only going to stay with doctrinaire forced upon principles of classification in context. The difference between the two main classes is that the arts of a by resting, striving to please the other by moving or time expiring forms, those accordingly dormant masses as transform or combine produce this such physical movements or changes over time that the art is the purpose of will. For the former include architecture, sculpture (sculpture), drawing arts, garden art, the various branches of the art industry, which can be summarized visual arts in a broader sense the whole of the term, however, is usually only the sculpture and drawing arts denotes, in the strict sense . The second category contains the persuasive arts, poetry and rhetoric, music, drama, art, dance art, for which a Community name is missing.For brevity, we can distinguish the arts of both classes as arts of rest and exercise. So purely externally is the point of distinction between the two classes, one can not doubt but that he was particularly striking, the usual classification of the arts from the top down is determined as a significant by all major arts can put very firmly on one

side or the other, which would no longer be the case if you wanted to look for the highest point of distinction any differently, for example in the difference of the senses areas through which the arts are input. For poetry is just as well-written as it belongs just as well be found by Getast face as the input if the input one way is preferred to be considered before the other words and the plastic. Just as little can the distinction of the arts in those who view much by direct and those which act by associative impressions that are relevant for the existing classification, because if ever the music and oratory in prose then quite apart and isolate from other arts, so take it in the other arts of both impressions more or less essential, if not the same everywhere mainly along. Now you can try to wrest that external differences between the two main classes of the arts a deeper ideological, but know I can find no one who hervortrte sharp, clear, concise, by striking fruitful for viewing, even though it is not difficult, philosophical phrases for to find, and it goes to the individual arts, as can be about the same no sharp demarcation find them against each other more than those between the core classes. Although in the main works of the arts you will not be in doubt where to count them, the architecture of temples of the gods and timbered or brick homes of the people, for the plastic human and animal statues to the drawing arts painting, drawing, to poetry lyrical, epic and dramatic poems, etc. But in these major works taken together points that converge not everywhere, but also separate in other works well to combine different matter, and what you can say in general that the more of the features, which doubtless the send represen-th one genre, meet in a work, the more you will have to be inclined to expect it even to the same genus, and is it so long can do when not in several more or more important relationships a meeting with the characteristics decisively representatives of another class takes place. Where, however, starts more and more important, can often be just a matter of indefinite aperfu. It may be useful to illustrate this important point, the conceptual discussion of the arts in a peculiar examples. We take it forth from the architecture. Lotze s shows in history (p. 505), as the provisions that give the architecture of Kant and Hegel, the same concept can be put to far, however, one can ask if he does not by itself is too narrow. "Notions of things - says Lotze - which are only possible through art, and their form is not in nature but in an arbitrary purposes has its determining principle, is, according to Kant make the architecture aesthetically pleasing and at the same time realize that arbitrary intention adapting Hegel, however. finds its general task in the external inorganic nature to work so justly, that it was used as a contemporary art world outside the mind. " But, Lotze makes rightly argued by Kant would also produce all domestic appliance, even a white sheet of paper, be according to Hegel, roads, canals, railways, gardens and parks products of architecture, "each view but was suspicious in then glaring contradictions against the parlance move. "Lotze, in turn, is architecture everywhere, "where a multiplicity of discrete constant heavy

mass elements [as name blocks] is connected to a whole that by the interaction of its parts on a supportive level in equilibrium content," - "works of architecture always arise from addition not subtraction. " - This "seem to require as art or architecture, that the balance of their whole work not enforced by various different tricks, but will backed by the power of a single principle and its appropriate application." After this would cut into the rock temple of the Indians, and even some homes that can be found carved into rocks here and there, be excluded from the architecture, but will you be at a loss to place them differently, but that they rather by subtraction as addition caused the material, nor would so many houses of the Chinese, the rock on rivers can no longer be considered buildings when the Gegrndetsein was on solid ground to the character of a building, and where else but they count? Well the thing is that the zweifellosesten representatives of Architecture, followed by the concept of architecture has established especially, really combine everything into what is required of Kant, Hegel, Lotze terms for the architectural work. But not all will meet the media, and now Kant and Hegel less demanding, Lotze more of it than would be compatible with the common notion many other particulars. Because of this you want every temple, every final from the outside world for human habitation art moderate fitting to call a work of architecture even if they are not assembled from discrete material or founded on a firm level. From other side, we would like every art assembled from standard discrete material, based on a solid level object name a building, even if he is no temple and no human habitation, the pyramid. Thus all three demands seemed to be negligible as soon as the other one soon that can fall without the concept of the building falls. But wanted to let all fall at the same time, we came out of the most characteristic areas of the main representatives of the architectural features out so far that you would have to look in another direction rather art for submission. In a monolithic obelisks and so many carved stone monuments, it may hereafter appear quite ambiguous whether they rather expect to architecture or sculpture. For the most outspoken representatives of the plastic combine the features in themselves to be images of the organic, Human insbesondre and rather to arise by subtraction as addition of the material.The obelisk but by sharing only the last-named feature with the plastic joins hand as zukommenden solid foundation in the ground so entschiedner the main representatives of the architecture in the absence of the first and the sculptural works often missing. Such transitional links of dubious position will also occur between other arts. Sculpture and painting going on through very flat colored bas-reliefs, architecture and garden art by living bowers, poetry and rhetoric by rhetorical poetry and poetic speeches to each other. Next the differences and transitions between the different arts can deal with the connections to the same esthetician. It may be that the other takes an art only as accompaniment entrains or special relationships in service, or that it forms a complete marriage to a common output so, but can not connect any art equally advantageous with any other. However dance without music hardly made white, a lyrical poem as

performed song finds its impression highly increased, it does have several times tried to lift the impression of painting to music, but if not both more disturbed than supported, so it would not have remained on the rare attempts, to the dance IS a painting or a dance with a painting to display at the same time, do not want to completely go now. That visual art and poetry can form a certain, though not as intimate, connection as poetry and music, is discussed earlier (Section XI). From other side, do not seem all the arts the same main class to tolerate particularly, at least one wants to higher style of painted statues know nothing, although I neither theoretical nor practical question seems done in this regard, to which I return in a later section. But also those arts that can connect advantageous are not able yet by any means, every dance, every song wants his special musical accompaniment, there is a need at all of the accommodation, and not infrequently an estate of which every art peculiar advantages to rather that in which they support, as that with which they interfere, to bring to bear, and yet to reach the whole a benefit it would be a shame to have lost. Now it is an interesting subject of speculation, it depends on what conditions that some arts in general can be combined with greater benefits than others and how they have to combine. But that belongs in a more specific and objective consideration of the arts. It is very common, according to an advance staked terms prescribe the individual arts of them, what they represent and may not represent, and to blame this or that work or to discard because it does not occur all the way to one of the terms is staked. This is not a real point of criticism. It does not depend on that a work of this or that task, defined in any category, met art, but that it even meets the purpose of art, which is aimed at achieving a higher immediate pleasure valuable impression. Everything is allowed in art, which can not only be made in contradiction with a general or higher it to achieve such a purpose. Time, it is not to investigate the factual means any art for their performance, but the term after his performance, and should be able to create an artwork that is completely accommodate under none of the various arts, while there but the general purpose of art is sufficient so you would only see a profit in it. Of course, there is the assumption that the evolution of art has passed through thousands of years already to norms and limits which are very related to the nature of the people and art means to be left safely, and that those in the previous definition of the arts against each other have been expressed, but it would be so, but we could not help on this insight, the predetermined notion of art. Some of the poetry is all the other arts as the most common over or put in a top division of the arts. It can also raise certain claims in this regard, if on the one hand by the direct melody and timing of the verse wins a common element to the music, on the other hand, the ideas that build on the words to the erweckbaren by all other arts performances to can reproduce certain limits. If you now say that any art is only in so far as art was included as poetry in it, so can you with this poetry my only an abstraction from the real art of poetry, and what is apt in this saying of, would be tantamount to that just as the essential impression of the poetry association notions of what can be interested in the people and all sentient beings, based on a sensual

material that term of any art, but encounters with works of music less than a work of visual Art, if the music has to act according to earlier (in section 13) plowed through direct discussions essential impression melodic and harmonic relationships is tied as ideas. Therefore you will also find the requirement to make a poetic impression of rare works of art as applied to musical works of fine art. Many artless tones are yet poetic as the sonata and symphony, such as the sound of a post-horn, an alpine horn, the bells of the herds in the mountains, the song of a nightingale, the Morgenruf the cock even from this point of view in much less aesthetic importance , the Spring cries of frogs by memories of life on the road, in the mountains, in the morning and in the Lenze make involuntarily and inevitably it without a direct appeal of this simple sounds or modulations comes at all or very much into account, whereas the main idea of the sonata and symphony based on the fact that they put the soul directly into aesthetic beatings by their tonal relationships. A cabin that is unadorned constructed and installed in the environment that all association ideas they brought together agree to expression of interest to us individual mind and life situation is far more poetic than a magnificent palace, which makes claim, by size, symmetry and ornaments to act directly and carries only the very general association of wealth and dignity of the resident. From someone other than the previous considerations, the architecture higher style can be used as an art of arts are considered 1) as long as they sculpture, painting, art industry partly in independent works, partly decorative picks up in themselves, their palace rooms like on music, dance, drama, festivals of any kind, their temple premises for religious ceremony presents, and, while it provides a framework for all that at the same time find a frame in the garden and parks, or represents the culmination point or destination of scenic views, short of some aspects not only between all other arts, but is also a mediator between them, the nature and life, however, it would appear, however without the other arts themselves almost exclusively as a servant of necessity.
1) "Nowhere

- I heard in a lecture on the Periclean age in Greece say - the art is ever reached a heyday, without that architecture had taken the lead. "

Finally, some aspects of it can be also probably be considered if some one show as the highest art of living well above all other arts, only that the purpose of such art is not to achieve the same perfection as the intention of the individual arts in more limited circles, partly because the means to do so are just not in our hands, partly because what they are, may not be exactly as directed purely to that purpose. Because higher than the demand to live beautifully, is the requirement to live well, which, although up to a certain extent with each other goes, but is also important in conflicts. No one can live truly beautiful, is not also lives truly good, because the highest and noblest pleasures that we are to prepare ourselves and others in a position to hang on to the goodness of life, and without which no lasting satisfaction is found; but probably can not live well, it just depends who his intention to live nice, because

of the goodness hang even the heaviest responsibilities and sacrifices that can spare just a good skill and rarely find their full reconciliation in this life. And thereafter one can ask whether it is not better, art, beautiful to live than to seductively next to the obligation to live well not set up, but the individual arts only as a temporary and local jewelery and as mitzhlende Education means of living into account to draw. After all, you will have to admit that there are countless emerging from the arts, private and social pleasures that can be made to combine with each other and with the natural pleasures, and finally with the moral and religious satisfaction to the maximum harmonic power as a task, only that the does not provide an aesthetic point of such a task brim. But that avoids precisely by avoiding the expression art for it. Will you try to do in the terms of art out rules for the pursuit of art, one must keep in mind that their concept at all, only the target but not the way how to reach it, determined, and trying out the nature of people and things to draw these rules with respect to this goal and the most general to say about what all exhausted and what to draw everything, so you will soon find it's not to say in a sentence. But it seems to me at least as to the visual arts to the essentials can be summarized in the following few rules: 1) A valuable and least interest, appealing idea to display to select. 2) These senses or their contents as possible to adequately and clearly stamp out the view in the sensuous. 3) Under the reasonable and clear display means the preferred, more like the already without regard to their appropriateness and clarity than others. 4) but keep in this respect, the law governing the whole of the work aspects for the individual only in subordination to the whole prevail. 5) When entering conflict between these rules to let each other give up so far that the greatest and most valuable favor as a whole comes out. One may say that all the rules of visual art are ever included in these rules well, only they are not as easy to pick up for the particular case of it, as to include therein. The true artist helps them in feeling and used it in the works; task of the esthetician is, they deal intellectually, so far it's just intellectually, and so we will try our part in the following sections.

XX. Remarks on analysis and criticism of art.

A work of art can please or displease us, without us bring us the moments and reasons of impression and particularly its entitlement to consciousness, but in if it happens, we are practicing aesthetic analysis and critique of the work. Such is the pleasure that we expect from the impressions of the work of art itself, does not increase immediately, rather disturbed in some way, for some, there is therefore a prejudice against it. We must, they say, to indulge the impression of a work of art only as pure as possible to have the true and full enjoyment of it. The perception of beauty is not a matter of the mind. By now, of disturbance of enjoyment by reflecting on the moments and reasons but

out of the question only in so far as the reflection of the enjoyment to be practiced at the same time, but since every aesthetic enjoyment exhausted gradually, it may very well practiced with on an ongoing basis or after be, and you then return to the enjoyment by enriching the aesthetic understanding. The aesthetic understanding but not only contributes as any knowledge of moments and reasons of what we have to create, generally at to clear the mind and purify, but also has its effect on the aesthetic sensation itself, where a frequent exercise, to recognize aesthetic merits and disadvantages, such gradually also makes the common feelings and their effect transfers from one to the other work. Yes you can find yourself a pleasure peculiar kind, which even often the principal determinant of his interest in the art in so-called experts in the intellectual engagement with works of art. And certainly, the there are more entertained by a work of art that does not merely passively and uncritically the impression surrenders the same, but the same also for the reasons and his authority questioned, however, certainly the one who without the basis of a pure and uninhibited received in themselves impression always wants to go straight and analyzing mkelnd to the work of art, not only defeats the purpose of art, but also the right starting point for critical thinking. Generally makes every artwork at the first glance a certain predominant overall impression in the sense pleasure or displeasure, and usually, if not always, that the true impression of the last look back or look, we throw the work agreed. Going now to the analysis, one has to seek above all the reasons for the predominant direction of this first impression, which one is most naturally introduced in the analysis of the whole work, but it has to be not merely critical of the work but also against themselves procedures. Every work of art has many sides and viewpoints represent the consideration, and someone's taste is not easy so versatile and perfectly adapted to this impression actually receives the first overview of everything that has to contribute to the overall impression. The one sees a picture first and mostly on its color mood, the other on the style, the third party on the beauty or the expression of the figures, the Fourth of skill and spirit of the composition, the Fifth to the successful characteristics of the Sixth to the value or interest in the completion of technology and the Eighth to the correctness of the idea, the seventh. All this has cobasically the total impression, but not at all easy at first glance, in the sense of real appreciation together, and so it is, at first glance to provide additional views to deepen, to rectify, after which the result of the last look, however, of can be different to that of the first. If this but on the whole is rare, so it depends on the fact that what first attracts our attention to yourself, in general, too, is what interests us most, the merits or demerits of a work of art for us mainly determined, and the remains If the first and last looks still the same. What parts, elements, moments sides of the work of art itself, what factors, steps, sides of the impression which laws of complacency we may now differ also in the aesthetic analysis and pull to do so, shall be provided as common claims of the criticism of the work of art : that the impression all individuals at all concluding in a single total impression, and this in the sense of pleasure as pain is, rather, that the mere sensual pleasure exceeded the amount and the moral principle was not violated,

in short, that the terms of the beauty in the narrow sense by are met. Works of art have the express provision of these conditions, which are found united in the most random nature to realize in the most advantageous association, which some even just as a real art beauty beauty want to apply. The challenge for the artwork requirement of a single total impression is coordinated by the requirement that it had to make a strong and high as possible like impression, not both, rather than inside it occurs even in this requirement. Because in absence thereof is not just the complacency that we have attributed to the uniform combination of the manifold itself, and the height of the impression, which wins the artwork fact lost, but it can not easily be missed, that pain of contradiction occurs because that which does not fits into a work of art into a unified impression, or is finally reconciled, but not easy matter can exist side by side. This is the fact that, after we again express the demand of the single link to the work of art, just as we do not at the things that surround us every day, place, also contributes the deluded desire in this respect even to pain. From the outset, it seems natural to demand from the spirit or general mood which dominates a work of art a lustful character, so that the work of art as a whole make a pleasurable impression which sometimes from the other side seems inconsistent that we are mourning marches, sad songs, tragedies, novels which conclude sad, please leave quite like. But we would not like us, when they do not but we liked a whole. How this contradiction lift? Mainly it is the point of reconciliation, in which the declaration is, a reconciliation that may be due in part to the idea of representation itself, if the sad conclusion to say that as a negation of two evils appear confused, while the idea of punitive justice heard, partly in the fact that a sad mood through the appropriate expression of grief rather than facilitates enhanced and if we have no objective reason to own grief, easily find these reconciling power of expression with greater pleasure than the pain of the sad atmosphere in which we thereby enable us speak only externally. Actually, we love sometimes constantly receptive strong emotions and a change in the nature of these excitations, including, but sometimes to put ourselves in a sad mood somehow reconciling. Always lies but in the sad idea or dislocation in a sad mood, a cause for displeasure, which must be overcome, shall not wither the pleasure of the whole, so yes so do some of sad melodies and tragedies do not know, by the reconciliation of unpleasure event takes place at them not effective enough. Also, you'd err greatly if you wanted to push the Fallen, what you have on a sad final novel or drama, solely on the often indeed not very strong acting-circuit the idea of reconciliation, but rather it is the study of the whole progress of the drama or novel, which are primarily comes into consideration, without preventing that one has to see an error in it, when the work through completion leaves a bitter aftertaste in an unreconciled idea. In fact, the fact of such works is not enough to justify them, but rather the reconciliatory conclusion is one that in which the art has to offer nature, where you can have the ulterior motive that also in the world outside of art all zugehe a conciliatory conclusion , the offer is said to begin the work of art in itself.

An in-depth on the individual work of art analysis and criticism has two sides, if one may have to ask again, what each part, each side of the work by our own complacency or Miflligkeit contributes to the aesthetic impression of the whole, and which, according to its relation to the other parts , pages or as part of the whole page, because it would be greatly mistaken if you thought that the aesthetic value of each part to be measured only by its relation to the rest, but rather he has own share of the aesthetic impression of the whole; and so is everything else equated to an image with beautiful figures or beautiful coloring like better than beautiful with less. However, the aesthetic effect that brings something for themselves, just as well be with the one seen in its relation to the rest contradict the mood, and should be a nice single action with the whole of the rest are in a displeased contradiction, would something Unvershntes remain in the total effect, however, in itself displeasing individual effects can not reconcile themselves very well by the ratio of total rest in a pleasing effect. Now it is not quite possible for yourself to increase every single terms of pleasantness to the maximum without getting with others in the same work in conflict or contradiction, such as the maximum charm of coloring, the maximum ideality of the forms themselves rarely compatible with the truth of the characteristics and demands the utmost clarity consistent link with the greatest diversity of call may come into conflict. General rule now is to increase each condition of complacency only to the extent that would not of won by the first side, a resultant weakening of other more aesthetic lost as. In the composition of the major conditions but which interact to the impression of the artwork, in general this can decide on the timing of the pictures only. As the most general conditions consummate art beauty can set up four, first, that the whole thing becomes more pleasurable convincing force by the existence of each individual part, and secondly, that it would lose by adding any other parts to it, and thirdly, that it pleasurable convincing by linking the parts strength of the effect of the sum of the individual beyond how noble the disassembly, win, fourthly, that'll win by any other link, the more parts. Of course, such perfect beauty can only be regarded as an ideal, which the artist must seek to approximate as much as possible. Nature cares so little to say to meet these conditions. In some landscapes every game vote together so that each actually increases by combination with the rest of the charm of the whole, the landscape painting has always help out there, and so most of the art of nature, to create a perfectly beautiful work. However we take out of a consummate art, what you want, a great little piece of this or that decompose the plant in much or little parts, you'll never be as much pleasure as a whole, drawing from the separate parts, as one of could recoup their union. Could be a painting, poetry or some other works of art find any decomposition into parts, by their separate opinion you shall gain the whole, so it would be just to show off in this decomposition. From other side is of course that if a work of art by adding a portion could still attract so this added work of art would be the more perfect, but the mere fact that the be resisted to large division of attention and a hard-to-sustaining in many parts of strong sense of unified link must be maintained, sets limits herein.

The above requirements for the perfection of a work of art so much agree with the demands of the perfection of an organism agree that some of the organic nature of a work of art as the main character of the same claim. Meanwhile, it is the organic creation of art works more to the immediate fulfillment of desire purposes, at the plant of, animal and human life organizations to provide general purposes. Also the reference to the similarity of the artwork with organisms more direct observations neither in the doctrine of those who can still save it. Apart from the consideration of a work of art by its internal conditions, it is important to consider the same for its foreign relations, whereby its meaning occurs only in full light. Each image has its particular place in the historical development of painting, his particular relationship to the images of the same master, same school, another master, other schools, the taste and interest of time, like after a certain respect other images and is different to others about it , is of some value to other page from other about it. This is especially concerning more significant masters and works of art not only an inexhaustible material consideration, but it is also in pursuit of such relationships is the most important educational resources for the enjoyment and understanding of art. Even the comparison of individual works of art related content for several major champions can be just as interesting as instructive, as: Raphael'schen the Sistine Chapel and the Holbein'schen Madonna, the Raphael'schen and Michel Angelo'schen creation story of Michel Angelo'schen and Rietschel'schen Pieta etc Disputed that a work of art without any clear conscious pursuit of such external relations of the same his impression quite naturalistic, seemingly by his own inner moments and make the naturally be linked to it associations, but some, if not methodical, education through art is but even in the general education of each socalled educated and then also plays her role in the involuntary associations with. A proper appreciation of an artwork can in any case only with regard to a more precise knowledge of the circumstances of the whole art than the average state formation is common to happen.

XXI. About the dispute between the shape esthetician and esthetician salary in relation to the visual arts.
There is a very general, related to the whole aesthetics, including music and architecture into his range passing, dispute between the philosophical aestheticians, which will soon be referred to for convenience as argument of the form aestheticians and salary esthetician, but I'm here to concentration of interest and easier to avoid abstruse aspects, will consider the restriction to the field of visual arts, should also help touch with the philosophical disputes, especially as he is recently out between

Vischer and Zimmermann, go a bit lost. Outside of philosophical aesthetics but the dispute is mainly done in the here-compliance with the restrictions and come here to be leading to some aspects of language, sometimes they seem to bring me to the language. The dispute concerns the following question: is used as such in the value of a work of art something essential to the nature of the content it represents, the value of the idea, which expresses itself in not contrary Everything on the shape in which the content is represents has, and what the artist to reproduce the characteristic nature to a certain extent, but also to offer. Should thereafter the costumes of the artist rather go there to express some a content, an idea in beautiful shape, be it any substance right, which can be expressed as follows, and should he even alter the natural shape of the objects in this sense, only without the characteristics too much to forgive, or there, or at least express a valuable content of interest, in any material form, the same clearly and forcefully turns out for consciousness, and be it any form quite satisfying such a purpose. The spectator, he is to have the right enjoyment of art, form his taste in such a sense that it the content, or that it is rather rather addressed by the form, and the critics of his judgment rather according to the value of the content, the form aptly puts it, or the form in which he expresses it make? In a word, art has more to satisfy the interest in the content or form? It will be shown that this argument, like so many other contests in part because based that you do not quite understand the point at issue, in so far but it is possible to make it clear, it appears as the struggle between two one-sided, have to get along. From the outset, although one might think that he'll be easily settled by the rule that the arts have only ever represent objects with a valuable content is also condition a beautiful shape, but here against the form aestheticians would very reluctant by he trusts the art itself to be worthless objects or such to give of negative values by the manner in value, and as one definition of that also form and content against each other, so you can not from a parallelism do both depending on the value of works of art. In order to take the hassle above all, how it is performed and thereby tend to be kept from each other and against each form and content, first and foremost, we can speak the Form aestheticians regarding an example. That Bacchus, the Cupid reaches a bowl of wine, can form the content of a painting or a sculptural group. Since we no longer believe in the old gods and the proffering of a potion is a very little action, this content has no interest what made him worth the trouble to be presented. But he gains a lot of interest in that it provides an opportunity to bring beautiful and characteristic forms of man and those in graceful style moderate position and composition, and even if we stayed on that content into doubt, did not know that it's to Bacchus, Cupid is an awakening or a nightcap, the shapes, positions, even the most stylish compilation, the successful characteristics of the full bloom of manhood to the purest flower young age, the representation would give more impact and value. However, it helps a lack of representation shape the artist nothing when an even more valuable content of the work clearly enough reveals, yes

the same is displeasing to the more, the poor representation appears in relation to the value of the contents, while the least important, even can not congenial to obtain material through artistic representation of high stimulus. Consider, for example, the Barberini Faun. In general, the content of art works of art is not peculiar, but in common with her life, the history, the legend, the myth of science. There is no art to take him out, but first, to summarize it so that it fits in a beautiful form of representation, which is a matter of artistic conception, secondly, to represent him in this form. The value of a work of art can not make out what you already have without the art, but what art adds to the increase in value, or value as it only creates. Many substances representation of significant content, especially those of religious or mythological nature, are also fruitful with regard to the possibility of very nice, great, stylish and distinctive presentation and compilation forms, and as such important objects of art. However, its value for the art from the esthetician salary is partly exaggerated and partly conceived from a false aspects, by not thinking Starting values in the form, but is done independently asserted. More easily mixed and confused the lay public the inartistic interest in the content of a work of art with the art interest. The right artist but can easily prove the greatest art of all insignificant objects by giving it to them by characteristic and stylish treatment, an interest which is quite incommensurate with its contents. Also, this scale makes it virtually declared to the prices of works of art. They are not, and rightly not paid according to the value of coming in to represent an idea, but the values of the dependent of the art presentation. Although the religious image is not to fight, to create devotion, on the contrary, it is intended, namely as a church image, except for his art purpose even correspond to a different purpose; just lie both purposes apart completely and has the devotion which the preoccupation with the content of the image is likely to cause, there's nothing to do with the enjoyment of art, yes, the more someone surrenders to the contemplation of religious devotion in the image, the more does the interest in the art image, hereby the beauty of the image, back and vice versa. So you can not want to see the abhngende of employment with the devotional content as a part of the enjoyment of art itself. According to the effect of any other content.The true interest of a work of art as such, ie the form of interest is ever quite peculiar, with nothing else comparable, interest, and to this interest effective to produce and satisfy, the form must the peculiar effect of the substance rather cancel than lift. An image, which is a sad scene, we do not make sad a picture, which is a terrible scene, not to scare us, it is the case, then it is a bad picture. An image representing a serene scene, of course to awaken the general merriment, which each work of art at all, even that has to awaken the most serious content, by the play instinct of our fancy or imagination busy and satisfied, but only this, not the particular kind of exhilaration that plays in the scene, awaken in us that has rather resign to make that place. By previous I think I have exhausted much of what the part is made of shapeaestheticians here and there in support of their view of the art claims and have

searched it possible to do this with the commonly used expressions. It remains to be thoroughly unclear how form and content are actually distinguish them from each other, which is not my fault but because of the dispute, for the most part just on this ambiguity and vagueness that is in fact in this regard is based. But what the salary esthetician against the previous one, with all conceptual indeterminacy is able to return much but objectively by striking translucent, considerations of formesthetician? I think so far I think he is in the right, the following: When faced with his form expects nothing in output examples for content of the painting, as the abstract idea that Bacchus, the Cupid reaches a potion, the reduction in the value of the content for the art may seem self-evident. But nothing else makes but those forms in a higher sense beautiful, but that we address youth, fullness of life, greater comfort, freedom and ease of movement from what all no visible form, but is a content that we have through our life experiences it learn tie how we learn to build a content words and characters, it is also that that content is in a more significant relationship to the form than this. Of course, we are used everywhere, that's what thing an involuntary, commonly become through life we association to the form to be expected as a matter of an impression of the shape itself, hereby moving part of the mentally tethered contents directly into this myself, and thereby transfer the thrill of the content of the form (see par. IX), but that in fact commit a robbery in the content, and then you can certainly easily rebuke the content so impoverished as meaningless against the resulting enriched form. Basically, it's the whole penetration of sensual shape and form relationships with spiritual contents and the whole building and expansion of this content to which it is a Abschlusse in the forefront of total idea in the estimation of a work of art, you just have the value thereof is not unilaterally in search of the highest peak of an abstract idea. Of all the details yet undetermined thought that Bacchus, the Cupid reaches a potion will, in fact say little, the whole wealth of valuable association of ideas, however, which gives the illustrative embodiments thereof, with one blow, and presents the imagination to yield and further processing will say much. The so often heard and especially of Schiller, with so much strongly held contention that the effect of the substance or content of a work of art destroyed rather than through the arts should be lifted, is not it half true and half. A picture with sad content should certainly not make us sad, not scare a picture with terrible content because it ever runs against the art purpose to bring us discontent. So imagine the picture but something sad, terrible represent, it must make the image through a conciliatory moment good or offer by any pleasing property, or aesthetic through an external purpose, such as the historic preservation or even deterrence, but this is not the one area, search warrant. However, is no reason why we should not picture a reverent, cheerful, jovial, joking agree with its content, but rather, the more it is capable of this, thus proving more and it immediately proved its power and value.And someone will probably find a landscape by Claude Lorrain therefore poor that they can conjure the strange feeling of blissful look in an Italian landscape powerfully in us, it will have destroyed rather through art? Well certainly not cheerful or cozy scene is in the picture at all give us the same

joy, the same can comfortably agree, as if we had in fact even at the scene part, and leave the most beautiful painted landscape after a certain relationship still miss much of the impression of the real landscape , however, they can offer the same to others. In any case, by the image of a accents of of that feeling are created in us that would be able to create the scene in the reality or nature in us, and every other image is and will hereafter rather than give us always the same general Kunstheiterkeit, through its other valuable content agree otherwise. Will the art connoisseur remove this from the other impressions, to have the general Kunstheiterkeit pure, so he may do it for himself, but he did so only just an abstraction instead of the full vivid impression which may make the work of art and should do. Who now of course remains only in the most general or principal effect of the content and the individual only after the fruit that it bears for observed and estimated, so the religious picture has nothing further and requires a revival of worship or religious sentiment who do yourself them across the image can be raised in the contemplation of heavenly things, instead of penetrating as with the consideration in the implementation of the above decision taken contents of the image to enjoy also the individuals in it, from which one can not say, however, that he have an artistic experience by merely has the top of the thing instead of the thing, the fruit of the tree instead of the tree with the fruit, but the same has the one that is merely the means of the total effect, without feeling this self employed, the thing without the summit. So instead of pronouncing a general rule, that the art of the peculiar effect of the content of their substances should destroy by any form of action, she just pretending everything possible to dispel the sad effect of their substances, as the positive, uplifting effect of the same to rich, and not contradictory to one in themselves, but are unanimous in the principle that it is not the pain for the increase of pleasure there. In such a way as I would like to take the word of the salary esthetician, as far as I consider him the rights to represent the value of the content for the art to the form in cases where, as truly in our initial example, the shape carrier is a valuable content, but there are other examples where one of the previous considerations alone is not sufficient and the principle of one-sided Gehaltssthetikers not at all sufficient. As it is with a Dutch Treat scene? What makes that such a connoisseur bring such great pleasure, it can even let him pay much higher prices, as for so many pictures of valuable conceptual content? Is it to blame him, it's his bad taste? The content of such scenes but also to the extension that we have given him in the above against a too limited version, no edifying. The content esthetician says about: it must be such scenes but something cozy Appealing or ever have, for some aspects of Caring, so that once like in reality such a scene zushe through gift giving window, you want to have themselves not in reality be lower. And I mean, the content esthetician has so because right that what has no interest in real or belief areas deserved to be not or only painted as a study, but very wrong when he said that the whole presentation of the gift-giving scene the experts or non-experts contributed nothing and could afford to, as that interest, which can be satisfied by the view of the real gift giving window, continuous or repeated to satisfy, and the art here only has the advantage of nature

would mean that they scene the most interesting moments and would be able to fix concise than nature itself. It is an advantage, but not the whole, and put no weight on it in paintings of this kind. On the contrary, you want to take so much interest in the real gift-giving scene, it would be satisfied with a brief glances, and they are long or repeated view, would even oppose us. Why do images of nature but now adorn many offices, probably offices of Gehaltssthetikern themselves and apply for ornaments of galleries. Need another interest must make this claim, but what takes the unilateral salary esthetician services. But what can it be? Well first and foremost will be to confer on the form aestheticians that apart from anything spiritually tethered contents a kind of sensual shape and color can address more than the other (see Section XIII and XXVI), and that a genre picture herein a merit as well as any may seek other image when only the demands of the tethered content is not contradicted by it.But what is far more important, there is still an interest in what concerns the descriptive form and attached to it content into one, so is the either-or of the form aestheticians and content esthetician extracts, may also be the former tilted it on its side to beat. Anyway, it will be better than a formal call a form-interest in order not to mix up with the interest on the ideological form and confuse. I try it with three, but the design still need to refer to words, it is in earlier (section VI, VII, VIII) discussed principles established, interest in truth, unity and clarity, which is far beyond the aesthetic area beyond but also deep reaches into the same thing. Suffice it to recall here the following in this regard. Each image has the task of representing something, be it in reality it was in our imagination, if determined first, second case is more or less been given indeterminate. We look forward to our interest in truth, if not a contradiction between what is to be represented, and the representation in the image asserts itself, the more so the greater the risk of contradiction. The reality and your imagination can not give us this joy, because just the same only in a situation of compliance of the work of art it is based. The reality is much further along, which does not add to our understanding of a unified point of view, but we have joy in the single link of the manifold, and also thank the Arts this performance. The interest of the truth, would not prevent art itself, all so as to reproduce as it is, but they understood that their ideas and executes them so that the condition of the single link all individuals is sufficient as possible. In reality, also the essentials often hidden behind the inessential, enters the, to which the interest mainly linked, not to the main light, stay relations in order to do it is unclear, but we enjoy the clear representation of a speaker which overcomes these shortcomings in its presentation, even if his speech is on a matter of us not interested in itself, however, we repels the ambiguous presentation of the most interesting substance, but as it comes to us with a speech, we are concerned with any work of art. Yet one, which is indeed only marginal, but it must not be forgotten. From all that has been asserted, it also admires the artist who has fulfilled the difficult and so rare throughout gelingende task to add all the works of an accomplished performance, and is located in this admiration of the artist something at the same time as Joy argues in

his works. One admires but even force artists and tightrope walkers because of the overcoming of difficulties, which appear to us as such, and finds pleasure in admiring contemplation of such benefits, notwithstanding these in themselves are nothing, for the easier and better you will admire the artist and pleasure in admiring Find intuition of his work when overcoming the difficulty was a success which even apart from overcoming the difficulty we like, but one must have in mind that this overcoming even with the moments of the fallen, and one other with the this helps. You can see in any case that various moments contribute to the liking of the art, which can not be clearly and easily distinguished by the categories of form and content. There are moments, like most in the artistic representation of any kind of forms, the most ugly, like any type of content, the most insignificant as sublime, go, neither tackle the allure of ideological form nor the charm of the tethered content itself, probably But her charms, where one exists, add its own charm, and where it does not exist, can give the art such yet. Basically now the artist has all the moments that can contribute to the liking of the art to combine as much as possible, but whenever this may also come into conflict with each other, just take care that pain decisive moments in the whole outweighed by pleasure-giving and be reconciled. Now, of course, would like the philosophical esthetician for the enumerated various aspects that make up a work of art should be appreciated, - to say, according to the charms of the ideological form of the charms of the tethered it contents, formal benefits specified way - one from the concepts of beauty have derived or synthetic uniform, except that so far no one has been prepared, which really replaced such a list. Still, the beauty of the stone is not found, the one, as needed to coat only conceptually with a Philosopher's Stone, an item to the same nice to see. Which is not to say that the above list, and juxtaposition is the zulnglichst possible, each esthetician will formulate its claims to the artwork slightly different, divided and grouped; essentially they will always come out to the above, but never are the benefits of which to appreciate a work of art is purely one-sided and can be attributed to the benefits of such form or the contents, unless in accordance with one side facing definitions of form and content. Common ground while there is really a single point from which all of the above or otherwise to be placed on the artwork demands can be derived, it is that it is in his immediate view, a possible pure and higher than mere sensual (but this non-exclusive ) well pleased to give, but to there are different points of attack in people who have to be united, even if they can be brought under experiential laws still no zulngliche and clear formula. As you may now distinguish form and content, as both have their targets in humans. But it makes the uncertainty of their distinction at all the categories of form and content is not very useful to become the head of aesthetic considerations, but what they are collected in the form of disputes esthetician and esthetician salary. In general, it is with judging a work of art like judging a people, where you can praise and miss Many things Many things, without having a formula by which one

could judge him adequately in the lump. If you can argue about even with a man if he is to be assessed more by its form or its content? But no one will find this quite useful categories. One would ask the same: would be unable to distinguish the ideological form and the shape of the pre-attached to it, especially intellectual content only? Is not the nature of the content itself determined by its internal form, and so we can speak of the contents without shape with inzubegreifen? I do not know how far is not quite the same as to assessment and valuation of a work of art could be said. Also would have made this general point of view, the whole dispute between form and content, aesthetics aesthetics can reject from the outset to be barren, nor why, when he is out but once I explained previously sought him still as much as possible get at objectively following observations may contribute something. If the form aestheticians take an interest in works of art as a peculiar interest in the claim, what could be satisfied outside of art either in the natural reality, not science, history, myth, etc, despite commonality of content with art, but just by the shape of the art so of course they have is correct in that the art incurring any immediate pleasure to combine conditions, and is able to increase the effect, as the artless nature, science, etc and not can not try, what else an art. The art has himself, as we said, the purpose to awaken immediately as a pure and higher than mere sensual pleasure, that also takes in her work means to do together as possible, achieving success, as they are accessible anywhere else. But the one-sided form aestheticians missing it easy in three ways. He lacks, first, when he examines the peculiarity of art effect in something else than just in the immediacy, clarity and level of desire effect, which can be generated by uniform mesh work of all available means of pleasure. In the individual agents, art has nothing against other areas still require peculiar to itself. In the formal conditions of pleasure it does the science of art not only equal, but in maintaining the demand for truth even earlier, because this one over any other claim has superior position in it, however it so much give in the arts in conflict with other requirements must be that it is on the whole more of pleasure gained as lost, not just because the demand of the truth but of lust occupies the highest place here. Meanwhile, however, the science in this relationship of art rather than preceded inferior, she cares for the objects which they treated, not a stimulus, it is the ideological form or tethered content.The art, however, does. But it is often to not only achieved by the natural reality, but exceeded. As nice as the painter may paint a face, the life-changing expression, he can not paint, and looks like a painted sunrise from? But the natural reality meets the requirements in this regard rarely pure, and always remains behind the formal demands, indeed the requirement of truth comes besprochnermaen not with her to bear, and how much can it contribute to the pleasure of a work of art that it seems gripped by its very characteristic of the life. In these relations, the reality of the art is surpassed unspeakably. This is now working in the formal merits of the factual descriptive form and content into or tethered them in the sense of those, and thereby increases both mutually in their effect, as it is not a matter of science or the natural reality. By such formative art all the means of immediate pleasure, over which it has to

offer, and partly incomplete, partly not pure feature which the other areas, not only externally next to each other, but in a consistent link only conceptually not factually distinguishable in is effect, creates a desire resultant, which is not to be regarded as a juxtaposition of the individual effects, but in quality of any particular distinction and exceeds the principle of aesthetic means the sum of the individual in size, thereby however, held the same everywhere to have monotone quality that you would like to take art as a specific effect, but each works of art in accordance with the Vorwiegens other conditions of pleasure is another. The form aestheticians missing secondly, if he conversion, made by the artist to the etc offered by nature, history, materials, to make them his purposes subservient, refers merely to the form, since the content is not less modified by how you may also differ form and content of each other. He lacks thirdly, if he builds the interest and value of works of art merely to what has art about nature, history, etc beyond or through their transformation makes them different; since in fact all conditions immediate pleasure, which the art from other areas to meet able their purpose in their work over increase, contribute by becoming its own conditions of pleasure for them. We might feel that to be able to gain anything by such a distinction, as one might at least distinguish the same the artistic value of a work of art from all values, the former as only moments walking, which added to bring the art, or the other what the art of the presented materials as the value of a shoe not by the work of the shoemaker exhausted it;; makes the latter than going to all the moments, because their is to appreciate a work of art and to seek, only that we do not the latter value hold by former exhausted it also comes on the quality of the substance, he takes it. In fact, we see no reason why not everything that can contribute to a picture to please, if it's just not others and greater pleasure is in the way, also to contribute, and how of what mutually help each other to favor and increases, this or that can be excreted in the question, what is it worth the work of art as a whole. Why should a sensual form of complacency despise when not only affects the characteristics and the satisfaction of higher claims; why the Sistine Madonna does not hold for a more beautiful and more valuable work of art as an equally well painted torture scene, regardless of the preference only in the larger values of the same good highlighted content is: why not view materials of low se form and content of interest but allow for the satisfaction of the formal interest and the interest on the amount of power of the artist, but to run, why should finally the joy count at this power rating for nothing. Factually and practically all the counts, the theory is bad, it does not count. From other side lacks the unilateral salary esthetician, first, if he thinks that art is nothing more bar, to generate as feelings and sensations that we can have other than art in a particularly advantageous manner, without the higher common sense to bill bring out what is that, only in art happening, mesh work of the various means whereby man can be pleasurable addressed to generate, and missing secondly, if it considers the formal conditions of pleasure only in so far worth more than they contribute, to provide valuable content to the light, without drawing their own lust

value into account. Both, however, seem to be missing me, inasmuch as they represent at all a question, looking to answer and make observations about art of the highest level on a question that are to follow in the uncertainty, as the form and content apart from the outset not provide clear simple answer yet for all discussions about it, or in the sense of the question to one or the other can certainly decide. In order not to increase this uncertainty both as a result of some general points, finally I close with the following remarks. Indisputably is one going to the bottom of consideration always be opposite lead to such a conception of the content of the form in the fields of art, according to which everything is beaten to the direct impression of a sensual shape mentally Ange tied to the content, because no firm and clear principle a different definition of the contents, once to be defined, is present. But you can also to deal with common perspectives to respond to them, content to say that delineate in any amount or community and the whole way that runs against the same, expect for the representation form, without being allowed to forget that the shape but then a lot of ASSOCIATED content includes, and that the distinction is arbitrary. We explain it to the input example. The content of the representation that Bacchus, the Cupid a potion is enough to hold very generally, one could summarize it in the idea - but idea is reduced to a more or less general point of content - that an older and a younger person to encounter in a graceful proportions. Then it's a special form in which this idea pronounce that content that they are just Bacchus and Cupid, who meet like this. But you could also add them to the same idea. Then thing is the presentation that they encounter in administering a potion. This can also be include in the idea, and then left for the presentation form, as the figures show, the facial features, the positions, the garments. And you finally want to also include in the idea, because there is no limit to it, so finally there is still the way in which the forms run to the smallest detail, the nature of the brushwork, the whole art of painting as the last presentation. The less you now in the concept of the content, the idea of receiving the same, ie the more abstract one considers it, the more weight falls of itself to the shape, depending exhaustive one considers it, the more significant the content in importance. Now there are extreme form aestheticians among raters, beholders and artists who judge the value of a work of art almost only by the lowest artistic molding conditions, without, however, be able to distinguish them from the upper right, a picture should be well painted, above all, they do not ask for something different or keep bringing the other only a means, a good painting at the man. From other side, there are extreme content aestheticians, where mainly include untrained in art appreciation laymen who do not care about this last form level. The full insiders, which grows only from a great exercise with open eyes, know all to appreciate the works of art and to appreciate what really contributes to not only enjoy it, but also has the right to contribute. Recently, logical-metaphysical entity is meant by form at all, the connection way of the individual, under Content, the individual substance, which is connected. But

insofar as the individual is not a simple, but itself contains connected in a majority yet, the form and substance can not be distinguished objectively, and depends largely on the manner of connection of the subordinate nature of the substance of any given substance, content itself. Now, Nobody is the simple attribute an aesthetic significance, and wanted to think disassembled down to the last one object, would at aesthetic consideration of the same form aestheticians necessarily be right; Everything comes because of the connection way and understood was a dispute between form aesthetics and aesthetic content at all possible. In fact, however, form and matter in this dispute distinction is otherwise in fairly vague manner, after which then, however, just as the information to be provided distinction, as the then to be precipitated judgment can argue without summarize the factual belang rich viewpoints at all so keen to can. I now confess, however, that I prefer to see addressed by reference to other major categories as the form and content of the general question about the role of art, but is not my intention, it was with the philosophischerseits also led coalition deal, be it in to mix the same, though it could not happen without meeting them.

XXII. The question of how far I depart the art of nature. Idealistic and realistic direction.
After, in the previous sections treated issue we take another, between aesthetes and connoisseurs and artists negotiated much of practical importance the previous Exceeds, question the eye, which is extended as the previous of philosophical aestheticians to the entire arts, but is equal to the last their main interest in relation to the visual arts. So shall folgends under art simply and solely the visual arts, painting and sculpture, to be kept in mind, however, we understand the nature of reality over or apart from art, from which their art forms borrowed without strictly adhere to it. The question now is: what is the point of view of their deviations from it, and how far they can go? From the outset, introduce yourself to the task of Fine Arts, something of what art is not to reproduce, why not make it true from? In music and architecture Nobody can so easily come up with an appropriate question because it in in front of these arts is not just as bent on something outside of music and architecture mapping already pre-given, and if there is already esthetician, which favor its general term of art would recognize these arts the same task as a fundamental right such as the visual arts. Now music and Architecture Meet course with nature, in some respects, a funny and sad music has something in common with the natural expression of mirth and sadness by the voice, and a house must be as good as hollow as a cave. But not only form both arts the raw elements that they receive from nature, without immediately following a natural counterpart to the sound of the animal finally feeling up to the symphony, and the cave to the palace, but the music also occurs with melody and harmony the architecture of the structure and decoration quite so basically from the areas of natural models out that it does in fact the impression of pretentiousness to find equally held fundamental as for the visual arts for these arts to the point of Abbildlichkeit . In contrast, the visual arts limited from

the outset and through their entire development in the main, on reproduction of given shapes; their highest levels you can still see people and scenes between those shown, just not quite as they occur in reality, she wants inside front and still imitate, and here, however, asks why she wants it only up to certain limits, but not beyond certain limits, and how to determine these limits. For the challenge, so to pull impossibility of fixed boundaries in answering our question, it can not be surprised when they are pushed back and forth, sometimes such that the emphasis still on the connection to nature, as soon as that on the deviations from the natural falls, which you will receive two more to the various biases that exist from other points in the conception of art. In fact, you can, according to whether the emphasis is placed on the latter or the former side, two different directions in conception and success-oriented execution of art differ, we briefly as idealistic and naturalistic or realistic one) facing each other, and in the course great uncertainty, you can contrast the general left, first and foremost want to express themselves through the most common expressions before we look definite evidence of consideration.
1) For

this or that a point of difference between naturalism and realism in art can also probably do without the following general discussions include a reason to take it.

Of course, without that over here already stocks a dispute, you will need to allow the Fine Arts deviations from the nature of any relationship, after which they can not achieve the same. Neither the sculptor nor painter can his characters flesh and blood give to the painter, a landscape does not produce so that you can really enter into its same, and produce only incomplete even the appearance of depth, the sculptor not all subtleties of the skin and comply hair, and both the present moment not unlike permanent, etc also be made impossible demands realists in this respect neither of idealists. Now, if necessary, the art remains, after so many and important relationships behind nature, so lets ask from the very beginning: why not art at all towards nature? Really Plato returned from this point of art far beyond the natural. So much the nature behind the idea of staying back behind the art of nature, for as little a natural object his idea, his pattern image completely achieved so little of the artist nature. Also, he has therefore the poet and the artist simulates what steps are ordered according to the knowledge of true being (in the Phaedrus) a very low, only the sixth, rank among the himmelentstammten souls. Meanwhile, as much as today's idealists are still influenced by Plato's theory of ideas, moreover, they can but this humiliation of art against nature due to their deviations from it do not apply, but rather, instead of Art to expect such a disadvantage they are looking for a main advantage of the Art of nature in it; halt the artist, he should nature not reflect as faithfully as possible, can be rather a bound only by higher considerations, freedom rise above them perceive that it is a work of art, a

spiritual work. not a natural work is what has been happening. The penetration of the ideal creative activity of the artist with the opportunities offered by the natural real materials, mastering, overpowering thereof by the spirit, only conditional nobility, value, so the concept of the true work of art, and even necessary deviations of the art of nature shall hereafter be driven, as they are necessary, such as statues are not to be painted, although they could be painted, the appearance of an illusory relief in the painting are deliberately avoided, the natural real detail design are limited, meaningless side parts are omitted, partly close the objects moved together some further be kept apart, as in nature or external reality. What did the man from seeing the common reality through art once again confirmed since it was necessary to rise to the ideal of the things of the same reality, and thus stamp out the pure essence the same, except that represent the nature of art has always refused. In this top nature through the intellectual activity of the artist in terms of higher, more general, more valuable ideas, not in the reproduction of natural things as they represents the world of the coincidences in mind, herewith rather in what the Spirit of the Artist works of art are, as to what he receives from nature, lies the task of art, the value and importance of the work of art. Higher is versteigend summarizes the idealist well the task of the true artist then he should as a body of divine creative activity or inspired by it, continue the divine Creator of nature in freer higher creations, and thus, as it build a higher nature over nature. On the whole, one may say that the conception of art whose principal keywords are likely to be reproduced in the preceding, prevails among the philosophical aestheticians, trained by them to art connoisseurs and the influence of these lay audience by far. In contrast, however, now falls off very, how many old artists thought the purpose of art and presented it. Was touching me in this regard, the following characteristic for realistic view stories 2) to read what I reproduce here verbatim: "A skillful stonemason in Speyer had carved a beautiful picture of marble clean and pure by Emperor Rudolph, whose startling resemblance everyone who saw it admitted., The artist or master was but also investigated the kings long and so had the form stamped and accepted that he himself had counted the wrinkles of the imperial countenance Such was the picture some years,. however when the artist learned that age had furrowed the Lord a wrinkle more, he went on to the Alsace, to see again the emperor himself and when he invented the thing properly, he went home again to Speyer and revised his image anew, the Emperor faithfully and similar. Later they put this picture on the emperor's grave. " (Is sung in the rhyming chronicle of Ottokar.)
2) Kunstbl.

, 1831. No. 12th

Common ground now can say that was a stonemason and an artist, and his work is not true work of art, but nothing more and better than a stone photography. But Albrecht Drer's all in the sense that a stonemason by declaring: "You shall know the closer you meet the life and nature with losing weight, the better your work is, and

artificial", and Leonardo da Vinci is in his Treatise on Painting 3) rules as follows: "A painter must by the nature of each thing that occurs to him in the face, choose the best and make it like a mirror that takes as many colors as have the things that If one confronts him now so he deals with, he is as it were the other nature seem to be ", and continues:". most noble intention of the artist is to be how he would attack it, that the body on the flat surface collected and separated his table appear: and he who surpasses others in here, deserves great praise. " According to the works of Leonardo so best artist to be nothing more than mirror images of the real forms most beautiful and yet he seems unaware of the rule that one should not be taken too far, the relief in painting to have known.
3) 14

Obs. 10th Thl. p. 186th

Anyway, we see simply and naively idealistic represented the opposite in the previous examples, the realistic conception and direction of art. Thereafter, the imitation of nature through art as the main point of them is held at all. Rather than impose the objects in the art the stamp of his own mind or prtendieren an expression of divine ideas so that, should the artist just waiting out the nature, so far as it has ever an interest they reproduce by objective as possible so true, clearly and forcefully as highlight possible for the spectator. But inasmuch as it could have a charm or purpose, mythological or represent objects of faith, but they are always present as possible in the forms and according to the conditions of reality. It is not without interest that we have of saying of our two greatest poets that share between the idealistic and realistic direction. Schiller says in his Abh about the pathetic 4) "The final purpose of art is the representation of the supernatural"; Goethe, however, the Propylaea: 5) "The foremost requirement which is made to the artist remains, always, that he keep to nature, they study, they replicate, is something that is similar to their appearances bring forth. "
4) Taschenausg.

XVII. P. 242 5) Taschenausg. Xxxviii. P 9

Now lets even the supernatural, on the Schiller instructs the art of realistic display in forms common reality, but there is not only the natural inclination but you can also right and duty accordingly, with the top ordinary reality in the idea they also to top in the molds. If we ask for the decision between two opposing views of art, so will not ever be such, but seek only an understanding between them and can find a compromise between. If it is there everywhere but only a more or less, the boundary between what admittedly not sharp or determinable between what they moved to circumstances. Also come from the outset both views to some, but not certainly be formulated and firm, borders meet.

In fact, the level-headed idealist not require that the artist produces everything from his mind, but that he uses nature as a base and starting point for his creations. It is known that Raphael wrote in this sense to the Count Castiglione: "I must have seen many women who are beautiful, it is then formed in me the image of a single one." So Raphael was able to create the ideal beauty of his Madonnas only on the basis of the given real beauties, and unquestionably the more beautiful women and the beautiful women he saw in reality, the more he was able to create beautiful ideals, but the work of this one, with the none of the individual was understood the completion of what seemed aimed in nature, yet remained an act of his own mind. From the other side of the level-headed realist does not require that you copy all true to nature, and would you still Leonardo also neither Albrecht Drer, he in fact requires that the artist somehow cleaning, rightly radically selectively behaving to reality, and ever the realist Aristotle demanded in this sense is not a pure but a cleansing imitation of nature through art.Goethe also rises in more than a saying of (eg propyl. Pp. 21, Wahrh. Sealing and III.. 49) on the representation of a crude realism. Well Some people search the rest of discord and strife between two views by oracles to pay as follows: the ideal and the real element to penetrate in balance, cancel an undifferentiated unity, rise one all the others, and which are like idioms more. Only that it is not much helped by the right point and point of balance then remains just as uncertain as that of the excess weight after the speech ways to maintain their idealists and realists to use. If connoisseurs and artists but the one or the other like use, depending on whether they get there or tend more so their judgment on the merits in each particular case and in fact is rather determined some other way. Here About I talked once with a generally esteemed art lovers and connoisseurs, and will initially reflect what I have as its view of the conversation drew to him by the fact the factual and practical view of most art lovers and connoisseurs, but not to the same clarity than likely raised here find. The nature and art are each for himself a kingdom, that one must learn from yourself and judge by his own rules, because the art yet only by their deviations from nature becomes art, including the rules only from the art itself are to draw. Thus, the deviations of the art of nature will be right, which is found in the best works of the best masters, and which make the best impression on those who have the best education at the most settled into the world of art, ie to the true connoisseur or true friends of art, which it is to art as art and not to do it, what you have in nature have to have in the art once again, resulting in absolutely no deviations of the art of nature would be explained. Only to those connoisseurs of art can truly be located, because only such is truly located at the art. From what such like, one might abstract the art major deviations from nature, and, just answer the question of why they exist only so that the peculiar higher pleasure, which is able to awaken all the benefits of nature, the Arts is not to produce otherwise, in whom it can be produced but that is so even have one of the characters that belong to the right expert. Remains after all 'the more

an uncertainty what one of the best masters and patterns, and from whom one has to keep on the best expert, it is a more definite principle than to rely on those, but do not have, never have been and will never have. Up to certain limits, but agree it is what one has to recognize this, in so far as it is the case, you will be able to also about what is thereafter allowed and not allowed in the arts, and offered not offered some; and in so far as it is not the case, there is no principle to agree. Everywhere it does so, that those who have settled in the arts, gather, enjoy the conformity of their feeling and Urteiles by main things, but see the disagreement about One on a common basis, a mutual stimulation. They form, if you will, a caste apart, the lay terms that come from nature to art, without being penetrated in their peculiar beings. If the authority of the judgment and feeling such connoisseurs and lovers of art is not accepted by the layman, they must put up with it, but they keep on these forward a pleasure to miss this, a field mental stimulation to stay on which these strangers and feel at a disadvantage by their general and higher education, but they find themselves promoted thereby. A fine feeling for the beauty of art, acquired from the intercourse with her himself will also bear fruit of itself for the beauty of life. Last every work of art is a free Geistestat: any other artist is allowed to leave and leave nature in a different way according to his other individuality, he can be and the art did not want to cramp into rules which bind the same laws of nature. The beauty is something mystical, and art, by failing to present the beauty, shares this mysticism. You want taken away with the understanding of her, is her being taken away from her; recognize this mysticism, is part of the understanding, to indulge this mysticism, part of the enjoyment of art. These were not the exact words, it was the whole point of the view of my art friend, and would not be much truth in it, they would not confess so many in fact and practical. But should we really just refer to our question authority and mysticism and no points to be be specified, which go behind the authority to which any far-reaching aberration of taste may rely? We are looking for but definite evidence in terms of our question to win, with opportunity is found to recognize the right of the previous approach, so far there is such, and even emphasized. Above all, now it should be noted that any deviation of the art of nature or of any other subject requires, as that art ever deviate from nature, the artwork had to have the stamp of the creative artist mind, to prove themselves as works of art, as any other machine fantasy in the art would be justified. Any deviation of the art of the natural truth has certain disadvantages which are only to tolerate, if they are outweighed by larger or higher benefits, which it is important to make clear advantages and disadvantages. Is now the last thing always practical considering both the artist and connoisseur feeling remain, but it will be a matter for clear insight to the associated weights have particularly in mind. For as hard as it may be to use a certain scale, but it is impossible to use if you do not even know the media for the weigh weights. Let's first talk of the disadvantages. By all mean works of visual art about their sensual appearance and also its main content in this meaning (Vol. I, Section IX. P. 116), there is a part of the deviations of

the art of nature in that they are the natural means for connecting meanings given incomplete, shortened, weakened back there, so if the color of the plastic, the painting of the figures in the relief omits the statues, both sharing a whole story just a moment. Another part of the deviations is that us the art features appearances with a different meaning, or other phenomena for given meanings, as we have learned to make the reality outside of the art at each other, so if a worthy human form God, a dove, the Holy Spirit, a stylized horse shall mean a horse. The disadvantages of the deviations of the first type are that then also weakened with the sensual impressions the starting points for the importance of this impression, be reproduced shortened, so that the strength and completeness of the impression suffers from two sides at once. When I see a face in reality before me, told me not only lasting but also the changing traits of the same life of the soul behind it, the painted has merely enduring it, and while the character expression of a shape completely only in the ratio emerges in which protrude and withdraw their parts against each other, the painted image gives us only a flattening appearance thereof. The statue on the other hand omits the color is so much in the characteristics of shape and beauty of the living yet. The disadvantages of the second kind are these deviations. We come from natural life to art, from the meanings that the things have become familiar to us, not out of this. By now deviates the art of the natural expression of the meanings or natural meaning of the phenomena we experience either a contradiction between the intended meaning and the expression of dislike how every performance contradiction, or it creates a weakness or uncertainty of the impression, or we make do other than the intended meaning to the artist. In short we are about the importance of appearances by the natural life, reality-oriented, find us by any deviation from it more or less disoriented and subject to the dependent disadvantages. Still occurs, the loss of positive benefits that could be achieved under certain circumstances the true representation of these disadvantages to a negative nature. On how many objects of reality ties but for us a lively interest in the way that we like to be want to remember it exactly, as we have seen them, or to say just want to get to know face to face, if we do not see; and the art assets that we owe to advantage when she wants to thank these only deserve, but any deviation from the same nature over the inevitable addition shortens the reason for this Thanks. The example of, made by the old masters, Emperor portrait suggests to us that aspect. Even representatives of the idealistic direction it would be more interested to see this getreuliche likeness, which the Emperor so human as he was represented, the same as an idealized schemes, in which the spirit of the artist wanted the figure of the emperor in terms of its higher idea of the same stamp out, and every lines, which did not seem to fit this ideal emperor, was omitted. Now, you may come back to it, but those faithful replicas are thing of photography as art, and it is in some sense be right, just to the advantage of the expected reserves the photograph in a certain, I do not say it all, relationship before art , not taken away. Really why we often prefer the photograph, in which we know where we are, the image in which we can know that

never quite before and would it be desirable for the best picture of one we are interested in personality nor a good photograph of the same to have, it does not have to be the often-heard statement that every good picture gives us more of interest to us the essence of personality depicted as the best photograph. But what of saying of this is correct, does not depend on both variations of the image of nature as the fact that the artist is a particularly characteristic and happy moment of nature, be it for reality itself, or the terms of the reality that we at meeting everywhere expect our question to nature, choose better than the photographer may happen to meet, so a person sitting in front of the photographic apparatus is probably one of the worst conditions to have taken the best moment. I have heard it said that, as in never sharp the landscape painter who could allow a real area to the subject of his painted takes, even with regard to the interest of what someone likes to take on the real, but variations of it in so far, all recollection, the deviations are not noticeable. But on the contrary, precisely because it shortens the advantage of the faithful painting could offer, which clearly establish that has become indistinct in memory and store. I do not say that landscapes in that sense are not to be painted, so far art landscapes are determined ever more to give us beautiful places than to remember real; far but they do claim to do the latter, they have the purpose and the means to want. Must we not admit in linguistic areas that are the content of a story once so interested when we know it is done, as if we know it did not happen: that when reading a historical novel, a disturbing feeling of uncertainty goes along, how much is true and how much was not true; probably some novel, which pretended to be a true story, we laid out of hand, as we realized or were told that he would only deceive us . This interest in the reproduction of reality increases according as they affected us even closer. Now, a work of art, though not solely speculating on this interest, it should deserve the name of a work of art, but may owe part of its effect him, but with speculating on this. In short, the Aufbehaltung, visualization, playback of what a score meaningful intervention into human life to some, the satisfaction of desire, what we were interested in its reality, even for the reminder as it really was, preserved to true to see is Although not the sole, not alone to be considered, yet most, but if mitzhlende task of art, as the effects of many benefits of art by Mitbefriedigung to the amount of that interest may also gain strength. Quite apart but from the, so to say material or personal interest in what someone may assume the object of artistic representation, it makes the people to be a peculiar pleasure, reflected the nature of true by the people free activity to see, so that the obtained thereby reflection may have an interest, if the object itself has none. You can about the nature of this pleasure indeed to be in doubt, and think of Mehrerlei it. The reason lies in the joy of the difficulty overcome, the true play-back? And a faithful reproduction of the difficulty is that. It is certain that in general every overcoming a difficulty with knowledge, power or skill of man reclaims us a sense of admiration and pleasure of hereby. Although can argue against the fact that we a

work of art just like the best if we are not aware of the fact overcome difficulty, it seems to have done rather easily and almost automatically. We now know quite well that the artwork has not made by himself and was able to make, and in any case the expert is the fact that it still, in a sense makes this impression, the best and only evidence that the difficulty really completely overcome is, but even a layman could say in the joy of the work a sense of unconscious. Or is the reason rather in the satisfaction of a native imitation instinct kicking yet clear enough in children and savages days - because some are so true monkeys which is indeed outweighed later on the merits of education influences and higher considerations, there still remain involuntarily lack of counter-motives claims, as if we imitate unconsciously gesticulating with description of a motion, the cone slide a bit behind the ball tagging along, etc, also probably is still recognizable in the power of fashion, and even contributes to create common ground in humanity? Could now not the only begotten instinctive impulse to imitate it with a stand just as instinctive pleasure in relationship, what if would from the outset less active and more easily overgrown by counter-motives than the impulse, but, with a perfect imitation of a breakthrough. I remember from my college days, where I heard a college physics with Prof. Gilbert, as the same, with the chalk on the blackboard standing and on one leg back and herwiegend, each movement of which he spoke up , down, horizontal, rectilinear, curvilinear, swinging, fast, slow accompanied with a corresponding line of chalk on the blackboard, so that after some hours, the whole table was interspersed with a colorful mixture of such chalk lines. Or finally: the reason lies in the equally innate taste for truth, contradiction, opposition against imminent? From one side there is the assumption that the image of his subject the same, and depending on that condition is met or contradicted by the idea that brings the real picture can arise after, discussed in sections VII, pain or pleasure principle. Maybe all of these reasons contribute to the pleasure of the successful imitation, certainly in any case of the latter. And with the difficulty of accurate imitation increases the risk of contradiction, as well as the pleasure of overcoming the danger is naturally grow with it, so go along with the first reason in the last one. But let us leave the psychology auszuklgeln precisely what is the major determinant in the favor of successful imitation, and keep us here simply to the fact. Hogarth has been the same and their reasons out by saying (dissection of beauty, p.4): "It is really in our nature from childhood a love of imitation, and the eye is often hilarious imitation both in set astonishment, and ergtzet on the accuracy of the copies. " In fact, it seems to us the funniest thing there is, the voice and gestures of a human imitated exactly by others to see, as long as we do not find our moral feeling hurt by the intention of ridicule here, so to speak, the instinctive feeling the pleasure of successful imitation, even the moral aversion to the beat of the same purposes so that we can please us when the sarcasm is not too vicious. But why should the pleasure of

successful imitation, which makes itself felt outside of art, not make itself felt in the art? And why the question!Unquestionably, it makes itself felt. Who would want to deny that he is differently clear and unbiased account of the reasons for his impression that the desire to see an actor who takes his role quite out of life, the pleasure in a Dutch genre picture, what a gift-giving scene faithfully reflected by the terms of the reality on the canvas wall, a landscape in which nature are eavesdropped their finest inks, much with - I good to say alone - based on the joy of successful imitation of nature, not merely on based, that a caring scene is presented to us, because the scene would we rather self-interested in nature often little, not only not to take on the stylish treatment of the same, as rather the style has much to beware amendments, which this joy is too much shortened.But if there are pictures in which she is very shortened, so they have to in order to please and still earn favor reward by other advantages, such as, conversely, the lack of other benefits can be partially compensated by the consideration here. Everything to give it, do not think of us. One may now also this pleasure to yourself, as it proves beyond the arts, do not attach any great importance, and the art expect, naked to produce it does not, so it is with this as with other elements or conditions of pleasure whose art uses to bring forth a pleasing total effect that give a work of art for themselves, but for the auxiliary Prinzipe in interaction with others and responding to contribute to higher conditions of appealing powerfully to the increase of the same whole. So also by the successful imitation of nature combined with other elements of pleasure, about contributing a when even stamp out clearly to be little useful or of interest idea, it can pleasing at the same time by their own desire to increase value and indeed to increase more, as presupposed by their desire value for themselves. Also it would be wrong to say that one must isolate the favor of the successful imitation of nature only to have the pure art joy it is rather quite properly to, and any reader as a layman is influenced in his estimate of a work of art by , and often primarily determined. Of course we can by nature itself, the pleasure in question do not, because just now the imitation of nature makes it, and herein lies an advantage of the imitative art before thereby infringing nature itself, I not only misinterpreted as such by the idealists all, but ever almost never quite appreciated find, by the realists, which mainly looking for the essence of art in imitation of nature, the value of imitation looking rather only in the values of the abgespiegelten nature as in the values of the reflected image, or both, at least not clear as distinguishable moments have in mind. 6) Say ye Herbart (W. Ges II 111) to arrange for the imitation of nature through the art of the aesthetic value: "Imitation is at most as beautiful as the original."On the contrary, an actor may rather be the role of a villain or fool very beautiful: one must only consider that the beauty of an artistic representation is directed not only to the nature and the own circumstances of its subject, but also in the proportion of representation for objects and they do not judge by a doctrinaire terms of their nature, but the force in the lives of their performance.

6)

Only for Burke (From the Beautiful and Sublime p. 71) I remember to have met a clear distinction between right and appreciation in this regard, saying: "If presented in the poem or the painting subject, is such that we would have no desire to see him, if he really would be, then touched his strength in the painting or the poem only by the force of imitation ago and none in the things themselves efficient cause So it is with most such pieces. the painters call the silent nature. these is in a cabin, a dunghill, the lowest and meanest kitchen appliances are wealthy to make us pleasure. "

By what motive is the art may be caused to deviate from the truth of nature, so wearing their injury to yourself at all nowhere something to delight in, but rather each work of art satisfies the more so the more the faithful imitation of nature nor with the through art their object is higher consistent advantages, except that this agreement does not extend beyond certain limits. And what it is now, which is able to compensate for the enumerated manifold disadvantages of the deviation of the art of nature so far and to offer itself, that an art to nature not only exist, but according to certain relations to supplement them to excel for other can? With a simple phrase from the concepts of art and beauty out the answer will not be back to give, but how the cons are the opposite advantages have to be considered, since they are partly not reducible to each other, and the conflicts of the same with the disadvantages do not understand and can clarify if you are not responding to those in a similar manner as this in particular. But above all, an important self-help of art is to commemorate those disadvantages compared. The disadvantages, which depend on the fact that we a priori only in the wild, are not in the art life at home and oriented, can be, if not completely cancel it thus decreasing that we make in the art life at home, creating a new orientation arises which can replace the natural orientation up to certain limits. In this respect, as even after other respects, however, the experts have all right, that man must be educated through art for the enjoyment of art, to the judgment of art. Life in the art must be placed on the impact of art necessary to account, otherwise neglected or underestimated is a major factor in this effect. In fact, by living in the arts, we learn meanings, which almost oktroiert the art certain forms, almost level make it so common as to the forms of nature, and allow ourselves the greatest natural adversities, such as Centaurs, Minotaurs, Sirens , sphinxes, satyrs with goat legs, shapes above the clouds, angels with wings, white marble and plaster statues, fallen without being disturbed. They do not belong in the natural world, they are just in the art world, and have in their benefits as well as the natural creatures in the natural world; services, without which the art could not meet some of their higher duties. But only in the art itself learns to make friends with it by learning to understand their meaning in, or just get used to the same meanings given. And just as we soon then, the art to adopt Everything and nothing to miss what

comes impossible or too hard to keep her; other hand joy to find in overcoming difficulties, which is not familiar to the art uninitiated, as on the historic progress in overcoming this, he knows just as little. For all 'which, however arising for the art fans and aficionados a much different scale of the estimate of a work of art than by the mere degree of its conformity with a natural plant, which together with the material interest of the sole or primary measure of the art uninitiated. However, does not consist in the right education through art for the art, nor the right habit, ever to let any natural adversities of their fallen as rather habituation may be just as good an bad as a right, but firstly the necessary fallen to let, second, to make unnecessary fallen, which bring significant advantages, disadvantages would otherwise stay out of the following aspects in spite of habituation. First, meanings which the art oktroiert us are in conflict with those which we draw from the natural, necessary to force against this back because we live in nature as a rule, only exceptionally in the art, and learn self- in connection of looking at art a silent reaction of the same. Second, the habituation to please leave us some departure from nature, can indeed increase or decrease, which arises from the violation of the natural truth of the discomfort, but do not compensate for the loss of pleasure, what makes us the true representation of nature. Third, deviations of the art of nature, which are based on no durable motifs, ie bring no benefits, which compensate the drawbacks, though can in a certain school, some people, tolerated by a certain time, be familiar and agreeable, but can not hold in general and in the long run in the arts, because a principle of unity and lack durability. Thus it furnished a taste reserves instead of objective permission only subjective validity and the appreciation of art works that pay homage to the same, is fleeting. Accordingly, the art is indeed can be based with it, so must that life in the arts brings the disadvantages of their deviations from nature up to certain limits to disappear, but would remain unreconciled disadvantages if they are not the same berbte with positive benefits. Least but avoid these drawbacks artists who either do not have the same consciousness or see any disadvantages in them, and to prove that there is no lack of such, I want plenty of examples available to them only from a certain page just as cute as the others cite crass. 7)
7) Dioscuri,

1861. Page 158

The well-known landscape painter Ed. Hildebrandt was named in his great landscape image "At the Pond" some standing water on storks given unnaturally thick legs. As you pointed this out, and it is "unnatural" was, he replied: "I know very well that the storks thinner in reality and also have longer legs, but what can I do, that nature done this you can do not ask me that I nachmache their mistakes. " How else can you define beauty like now, at least to a very pure pleasure produced by it. But everyone will agree that pain here had to outbid every desire benefit from

the contradiction between the appearance of the legs and importance as a stork legs or from the uncertainty about the meaning whether stork or stork, that one of the approximately by a beautiful in itself form Stork should also be achievable by such a thickening of his legs, could attain. As we now turn to the positive benefits that can be achieved by the estate of the full truth of nature, we rise from our more outward and more inward on lower and higher. Nature offers us because of the impossibility or difficulty of an object or an event out of a room, a time to put into the other, the view represents countless difficulties which can be overcome through the art up to certain limits, by the light objects portable, holds from any proximity to beschauende easily be replicated, substituted images, and in the reality of the fleeting transient events the most interesting or valuable moment. But all this can only be done by one side or the other price they are of the nature of reality, big moves into the small projects the depth to the surface, reducing the movement of the moment, the vibrant life to the dead line wall or in the rigid Stone captures. So you can not be a real landscape hanging in the room, the remote does not conjure not find the best position to so easily give the moment the most beautiful lighting any time, the painted landscape provides us with everything, which they back is against the natural, these large benefits from the same, and from what mass of interesting scenes you can see the most interesting moments in the rooms of a museum preserved to forever. These are in fact only external but still very important benefits of art, which would alone suffice to justify it with all its necessary imperfections, and so really many possible true imitations of art be justified where the art just nothing of truth to nature are price than what they can not reach because of insufficiency of their means or waived due to reach relatively high cost in time, space, effort, resources. Such true and natural imitations are not only illustrations of natural history and ethnographic works, but also vistas of places and portraits of people, which are interested in, as closely as possible to know us more, as they are considered as having an artist from higher beauty considerations want to display. Heard now all 'the not yet into higher art area or arts area in the narrower sense, from which one can speak so go but most previous advantages when entering not lost in the same, but come into it with so deserve in the narrower fields of art not to be underestimated. But you finally asks for the higher benefits that are achievable through freer deviations, so we will not say anything wrong, but say it with pretty hergebrachten expressions when we answer: The art can give us in that it gives up the slavish connection to nature, rise to a higher, purer, clearer world than the common reality in a world where the essence of the idea, the pure nature of the things in reality only tarnished, disturbed, confused, incomplete, or not appear visibly pronounced and the part of the science subject only to the intellectual insight, to meet us lit immediately apparent, counter lights in a form which easily appeals to the mind, encourages beneficial exercise and immediately with joy fulfilled. Thus we gain at the expense of the truth of nature, what may be called higher truth and calls. Only requires such a summary of the whole higher power of art in a few words yet detailed design and spread of the

General in the Particular among them dealt. We restrict ourselves to the main points in this regard. Nature provides us with much of what is related by causal, teleological, ethical, cozy, conceptual, short ideational relationships of any kind, such as obscured in time and space apart from one or other objects or disturbed by accidental and incidental things figured that these relationships not easy nor pure, if at all can claim in intuition. So it may have an interest or a value for the people but to seize these relations of reality spiritual, art can in that it assembles the objects of reality in which according to a modified fashion, contracts, obstacles of intuition, disturbing coincidences , minor side things and unimportant details presents free, meet that need. The art is also the fact that they are so represents things of reality rather how we would wish that they would be or how it should be, rather than how they really are, we provide sample images before eyes whose observation gives us some se enjoyment, partly refined our sense and our pursuit oriented in good sense, on the other side of the fact that it is falling prey to the evil of justice, undeserved suffering reconciling themselves to serve our view of a good and just world order. Art can finally by the fact that they have items not probably exist but in the world of external reality in the religious faith or even of myth or fairy tale, illustrates the public worship and private devotions offer help, the beauty demand by shaping that are not found in ordinary reality, satisfy, engage the imagination of serious or graceful, and can even replace the dry and boring representation of general concepts and ideas into words through pictures. In meeting these conditions three concepts play a major role by designating the main deviations of the art of nature, making the art reached its higher benefits from several complementary points of view and thereby become pivots around which revolves the whole higher art appreciation, the terms of the Stilisierens, idealizing and symbolization, terms that are not in the contemplation of nature nor the so-called useful arts application. Enter into greater detail on this will be some later sections reserved. Being only a few very general. So great are the advantages which is able to achieve the art of the above relations beyond the mere imitation of nature, we must not forget that there is a conflict with the disadvantages of the deviation is always maintained. Like so art stylizing, idealizing, symbolizing different from nature, it is still allowed to happen only in so far as it is necessary to obtain the benefits and remain as such in overweight against the disadvantages, so the deviation from the natural is so much must happen as possible in terms of nature itself. The art may represent winged angel, because otherwise the heavenly glory and God's messages to the people would be unable to represent, but they will have to represent the wing, hovering and flying as natural as possible. You will be allowed to enter a Jupiter, a Venus, a face education and trains, as they were never found in reality can be expected still to be found, but only those which nature is the closer, the sublime and beautiful personalities they represent , and also, they really would in nature, would give the impression of the grandest and most

beautiful personalities. You will be allowed to subside in the detailed version of a painting by the natural truth, but only so that the true nature overall impression by winning rather than losing. You may not release, any chance of a scene, which disturbs the view of the content of the scene to which it is to do for us, for all shapes and so may group that we seize us the meaning of the whole scene easier than in reality can, but otherwise it should, as it does the reality even if they once something is quite clearly in mind, only that art what nature only in exceptional cases only soon after that, soon after that side does , as a rule, on all sides, yet at the same time does not do, as it would be able nature at best. With all 'which of course is art, if they want to or represent God as divine imaginary figures, etc, fall far short of the idea and thus fall into relative disadvantage art works towards which are able to be a lower se idea of complete justice with nature true representation. It is certain that the impression of the peculiar Gengens, which make the best realistic representations of objects and scenes that still belong entirely to the domain of reality, in this respect, of idealistic representations that deal with more than real objects, can not be achieved. While not realistic representations of human still so much interest scenes with her CONNECTION to the truth of nature, the scope and depth of the indentation can achieve what make best idealistic, and give no same through formation of the beauty in the detail area, which does not prevent that many small genre picture a great religious and historical paintings from the above considerations in the estimation of the rank expires. Yes, the objects of religious devotion could be adequately represented, who would appreciate a genre picture remained high, but the enormous disadvantage in which the religious image truer representation of his object against the genre picture in regard to the possibility compensated in some sense the immense advantage in the it is against it by the value of the idea presented. Since now is not able to unite all the benefits the arts in the same direction, you have to allow her to reach her in the entirety of the directions, and if both directions nurture each other to throw disapproving looks, deserve both really just the fact that they do it. One of the simplest and most general rules that you can give the artist comes to our question is that it exceeds the reality of its forms only in so far as he exceeds a entitled to representation idea, but that he also that do, if he does this. So of course this rule seems it is only by the rule to hold presentation materials and other appropriate form, there is hardly a rule that is violated frequently, especially from the first page. Because after the misunderstood principle that art should be representation of beauty, my many artists to have to play beautifies the unsightly nature without considering that they thus give rise to a contradiction with the truth, who ruthless on beauty or ugliness of the object , the beauty of its presentation detracts. Equally, only from the other side, but the truth is violated, if real objects are presented in forms common reality. For the purposes of the first error we saw Hildebrandt thicken and shorten the stork legs, and we see in most pictures so often even small so-called big style common people in beautiful new clothes, with ideal facial types and positions shown in graceful as possible. It's called probably higher truth, which is rather higher untruth. But mostly committed the second error of more than clumsiness principle is

afforded by some older images, unless God the Father, the Madonna with the Christ Child appear in general, yes ugly trains. In the first relationship, however, it should be a conflict. The desire of direct perception of beauty and grace of what we see before us, the pain from the contradiction that is in violation of the demand for truth, beat, especially when the art of habit no longer makes such palpable, and in fact, has art habituation taught us a lot in this regard tolerate questionable if not too much, and whether or not a future art habituation is the current rectify in this regard. But you do not trust the current not too much, and should more than ever it happens, consider whether some of what you think is right cause of art, merely a matter of habituation is art that would be better represented by another. It avails of the general intellectual culture is not the legitimate itself higher stimulus that is in a clear fulfillment of the demand for truth, nachzusetzen the stimuli to be beautiful but untrue shape, who become accustomed lost by one of receptivity itself for that stimulus, and loses whole more and better than he gains by the wrong habit elsewhere. With all that remains following counter space consideration. The demand for truth is the art and science of common, but both of different weight. In science, their fulfillment is an essential purpose and at any price of their desirable they may like or not like it, the art is it just a main means to an end, which should never give way other than by subordinate relations by other means, but really for such a power over others may differ. Concede is that a certain limit can not be determined in this relationship, you can just say just in general, it must be done if the injury advantages outweigh the disadvantages. This may provide for different tastes different, and is one of those cases where it is not easy or possible to decide on the greater or lesser privilege of one or another flavor. (Cf. 1 Th p 258), however, you always be weighed while the reasons may be aware of. Repeatedly we are reminded in our future considerations thereto, but first we look at just one example. In the Pieta by Michelangelo, a sitting Madonna holding the Christ corpse lying on her lap. In the Pieta by Rietschel a kneeling Madonna are the body of Christ going on. Both works can be easily compared by facing each other at opposite ends of the hall in the Leipzig Museum. Both are works of great beauty, each only in a different sense, what does not enter into detail here, to take only the next point in the eye. Despite that the relationship of Christ to the Virgin of the Pieta by R. natural true than in that of MA, you will be there but are decided more beautiful than in the former in the latter works by taking advantage of the nature of truth is there outweighed by other advantages here . In the Pieta by R. Christ is the body of a full grown man, which has its natural size ratio to the Madonna. In the Pieta, MA, but has the body of a non-legally vollwchsigen man, who stands back slightly against the size of the Madonna, which is contrary to nature. But with this unnaturalness is MA bought with the advantage of being able to put the body on the lap of the Madonna, the Madonna thereby can put in the most intimate relationship with him, which is reminiscent of her first motherly relationship with him and against part of the body above the knees to give a moving position, whereas the rigid Ausstreckung the Christ corpse in front of the R. 'see very Pieta is in disadvantage. It's like the river to ice. It

is in fact the ratio of the Pieta by MA so beautiful that it looks the other way about it under running unnaturalness without being disturbed by what course zweies with is, first, that the rejuvenation of Christ is kept very moderate, secondly, that one is accustomed to in this ideal sphere everywhere, to ease the demands of strict fidelity to nature. But neither the Christ's body could have been a lot less if not should make the decision asserted fault, nor the relative size of the Christ corpse of R. 'human may have Pieta, not the Madonna impose too heavy a burden and to make it appear on lap itself unnatural taking the corpse. The Pieta by MA I would ever richer in beauty and this beauty call romantic than the Rietschel'schen is the Pieta, however, in this beauty, so to speak in a simple naturalness, dignity and depth dressed, which also has its value. But who can ever want such works exhaust with a few words. Finally, the following remark. It may be that the generally familiar idea of those who has to act on the work of art is different from the scientific, objectively more correct, but only in connexion scientific, on the basis of scientific studies on the advantage coming, representation of the object depicted. To this extent it now does not hold the artist for his task, has to keep as an artist committed to support the scientific notion that common to rectify, he will fail of its purpose if it is in its representation rather to the scientific as familiar idea holds by the idea of contradiction that he should avoid, but this creates. In fact, the nature of conflicts occur, and there will be opportunity to come back to this. As the above section was added to the pressure, I only "Hirzel About the evaluation of works of visual art, Leipsic. 1876" came the recently published pamphlet by Konrad Fiedler, at hand, what has brought me thus a peculiar interest that it so to speak, at every point the, in this and so many earlier sections prepared, views contrary. Now stir the pamphlet of one, not only privately in art circles highly valued, and even the art of promoting, art lovers and connoisseurs here, but also, as has been known to me included, of other experts such as artists in an extremely convenient way, and has a fully boasting meeting in the Augsb. General time. In 1876. Hatchet. No. 68 know, yes it explains as fundamental to the art viewing; encountered also wesentlichst with the views of that other art lover, which I thought up, and there, with all the one not uninteresting contribution to the characteristics of the now dominant art views. So like at least some points of comparison with our own views, which makes the contrast more claims are simply highlighted in the pamphlet, as a full analysis of the same here can not give. Even after the author allows the deviations of the art of nature only from the art to understand and judge for yourself: "The art is to be found in any other way than on their own" (p. 27). Rules according to which to assess the performance of the artists are, not to ever give in advance. "Understanding can always never-to precede the services of the artist only, and do not know what task it is facing in the future, the artistic activity of the people." After this fall, the whole discussion of advantages and disadvantages of the deviations of the art of nature is discussed in the above, just as, in the opinion of the above art lover, of himself away, and if you will not be able to deny that they exist in fact, and can be understood from the given point, as a consideration it would only pay the artist as observer and judge from the right ways

of delivering and viewing it within the meaning of the Constitution. The artist is rather reckless advance to all him to the Rules to be given in an inner urge coercion (p. 47-51) of one, distinguishing him from the amateur art, way of looking out produce (p. 42 50 56), and the Kunstgenieende have only provided the right enjoyment of art, as he is able to reproduce the activity of the artist himself (p. 64). The peculiarity of consciousness or intuition but from what produces the artist lies in the fact that he, like go out of the view, so also there persevering, neither as the scientific view from there to the terms ascending [what unquestionably no contradiction suffering] yet let prejudiced by the aesthetic feeling, do not disturb purity, wealth, abundance, thereby restricting the intuition, nor prudence, clarity, let (p. 5 ff 29 ff.) While I can even say in the stripped of all meaning human form after their purely visual point of view so only to behold a symmetrical scribbles, wants the author at all beyond a, the pure intuition, have abstracted meaning of things in the visual arts (pp. 50 51). The same view which the child before it is stunted by habituation to conceptual considerations with him, according to the author can be found in the artist only increased, extended, developed in greater clarity. Thus ignores or rejects the author in fact as now in art circles common practice, which of us is so important-held principle of association, and the whole has (nothing as conceptual less) development, which by means of the consciousness of the artist to assume the same about the child out to have developed in the same sense adults something to. The aesthetic feeling, as it is otherwise usually expected and demanded the enjoyment of beauty, the author expressly excludes from the right senior moments in the artist's work and the evaluation of works of art, such as the nature of the actual enjoyment of art, [which surely many likely to be too strong] here knows against (p. 28) "a pleasure, the joy of the living being of the things that stands above as the differences of beautiful and ugly, it's not detecting individual, the feeling is revealing, properties, but nature itself, which only later as the bearer of those properties is proven ", which appeared to me somewhat mystical, but mysticism is something ever so no stranger to the art prevailing views (see page 43). Without going into the hassle of form and content esthetician esthetician, the author explains it found in favor of the former. It is a word representation of the ruling Fine Art Views with a widely accepted published essays a depression the same, but which with that given in the present work we attempted, the purposes and means of art, performance and art effect to get to the bottom, barely together wrong somewhere.

XXIII. Beauty and characteristics.

In a similar way as the conflict between idealism and realism is likely the not so clear coincident but thus intertwining, armed at the same time and do, whether that art had to go more on beauty or characteristics, and how far the characteristic could be expected even for beauty . Characteristic we call in general the representation of an object, insofar as they, true and clear, however, brings to bear the moments that distinguish it from other,

without exaggeration, because exaggeration is due to the characteristics of caricature. A successful pattern provides two important aesthetic benefits, once that they directly contribute by meeting the demand for truth for immediate liking to a work, second, that it counteracts the monotony, which takes the easier course, omitted the more distinctive features of the objects and this be verhnlicht by reducing it to a general type of each other. Now insofar as beautiful in its broadest sense is what immediately favor wakes, but a successful characteristics can contribute to this, it will be indeed expected not as beauty as such, but to the beauty of conditions, which does not prevent that they come into conflict with other conditions can. Is an object in itself ugly, he must, to be represented characteristic also be represented as ugly, and then we can indeed fall through the presentation of their truth but displeased by its subject. And so the pattern can ever though not the beauty of a representation in weietsten sense in terms which it is received rather with, but the conditions that contribute to their beauty except to be compared. Since you now apart from characteristic has also just no other word for beauty as beauty, then this is the comparison of the characteristics against the same beauty in a narrower sense, which separates the characteristic thereof, to pass. But whether, reckon after the broader sense of the beauty of the characteristic under the conditions with or after the same strict sense to face the other, depends on whether the interest is rather the consideration of the summary or comparison. Where the confrontation takes place, it is certainly to be understood in this previous sense. 1)
1) Similarly,

as with beauty and characteristics in the visual arts in this respect it behaves according to Section XV with beauty and practicality in architecture.

So one wonders whether the art should go more on beauty or characteristic so this question does not say anything else than: art is supposed to pleasing their works rather by moments, apart from characteristics which cause the pleasure in it, as the pleasantness of object looking to create itself, or by the characteristic? But this question so commonly done can only give such a general response to: Art should ever act by any condition of pleasure, where and so far find any place can, but each should withdraw as much in conflict with others that but the maximum advantage of pleasing as a whole is achieved, and the characteristic makes no exception. In this respect it but according to their relationship to the truth is a positive prime condition and higher pleasure and right by preventing the monotony of a no less important negative condition is the same, they will not tolerate any violation of strong, without the loss is greater than the profit. It is certain that there are works of art that appeal mainly due to their characteristics, and that there are other, more apart by beauty terms of characteristics that appeal to, and you do not see any reason why it should not both give this than that because after all not all conditions of beauty unite in the same degree and can be increased to the same degree.

Cornelius, however, - to borrow only a central authority of this direction the word has, also under the rules he left his student Max Lohde as a kind of legacy: "Aspire has more on beauty than on the characteristics often. a simply beautiful face more than all the emphasis on the individual. " 2)
2) K.

v. Ltzow periodicals. f picture. K., 1868. Page 86

But you notice that this rule is given by an artist, created in areas that the ideal art areas, where the emphasis is not just on the characteristic, and agree with him, generally stay in the same areas and be in most cases in no else. After all, it is regrettable that generally speaking, but only one-sided rule seems to be sanctioned by their authority as saying the part of a great general. Basically the presentation itself will be the most ideal personality to keep still so characteristic as possible regarding the idea that one has to make the character of this personality, which she is now just an ideal, so here driven as far as possible and Beauty far-driven characteristic of themselves with each other, without a preference of one over the other on the issue may be. Only as far driven characteristic remains with the main objects of the ideal art still far behind the object back - because as divine Featured can now even do not represent adequately, and to the character of the ideal itself, the characteristics of proceeds thereof in more or less general normal types, so that here can not be making as much by characteristics, except as by beauty terms of characteristics, which is why I said that there is a greater emphasis on beauty as lying on the characteristic, and you do not speak here of characteristic maintains. However, even in the ideal fields of art, it is not merely ideal personalities, but also secondary characters, subordinate persons with present where beauty and characteristics not equally go with each other than in the most ideal personalities, and if now, how natural, Cornelius' rule being it is understood that even here, in the conflict of beauty and character, which was to be preferred the former, but this reflects the prevailing practice, the ideal art and the thus formed, and it furnished prevailing taste, but I feel very doubtful whether this is not one day is regarded as a thing overcome standpoint. For it is very true what Cornelius says that a simply beautiful face often seems more than all the emphasis on the individual, and a Madonna is never too good and Christ can never be shown to be elevated, but when in large paintings of all persons basest want to be held to the highest level in beautiful edelem or type, so begin to be noticeable disadvantages to which the 27th Section will be an opportunity to dwell. In my view, the (section 22) given rule only to the in the idea ideals is an ideal representation of turn, as it belongs to the characteristics of the ideal self, always be noted as a general rule, if ever they should give admittedly after child relationships also; but only after the child. If you are there to treat minor persons as main characters, so this is rather a major deviation from the rule. Here and there, however, one gets through establishment or application of such principles in danger of simply falling to the saying: "the Jew will be burned." Art there that are exceedingly characteristic of an item that they really should not represent, what a page is so much like now, when it has displeased by others, and is to be regarded on the whole as a mistake, a mistake about the course overlook some

connoisseurs who desire that was only ever shown some characteristic. A remarkable example of the kind offers, recently discussed several times, so-called Schwartz Votive picture of older Holbein dar. 3) Here God the Father sits on a kind of grandfather's chair on clouds as a decrepit old man with a very wrinkled, half-sullen half-natured , everything ideal type, their lack of all dignity, face there. Nothing can be more characteristic in relation to the representation of such a human old man, as it indisputably one fretted with the fullest truth from life, portrait representation for which interested as such highly; nothing can be less characteristic, if you look at God including to imagine, yes, you find yourself outraged by that one but it should. A similar case offers the Christ Child in the arms of the famous Madonna of the younger Holbein represents, if it namely really a Christian child to imagine how demanding connoisseurs by, for it is admirable characteristic of a miserable diseased human worms, hereby but the elendest possible idea are of a Christian child, whereas the Christ Child of Raphael'schen Sistine Chapel for a human child, so characteristic but very little is characteristic at all for the idea that one inclined, is to make use of a Christian child, where his sublime predestination already from the eyes light up. It is so to say a miracle of characteristic in this respect, since, as noted, the characteristic ideal personalities generally falls far short of their task.
3) A meeting

of art history, this image of me is found in Weigel's archive in

1870. 1

XXIV over some key - deviations of the art of nature.

1.Violations of the unity of space, time and the person. In some ways, are among the strongest deviations of the art of the nature of the injuries unit of space, time and the person. To recall some examples of such violations in the visual arts, we see in some images, as Raphael, Kaulbach, Rahl, the heroes of a longer period of culture, who lived at different times and in different places, in any ideological connection and relationship presented on the same image, multiply the whole Passion of Christ or some other biblical stories in a coherent field in different scenes at the same time demonstrated in earlier images, votive images shown in the figures on the cross or donors at the birth of Christ with kneeling. Also on medieval and ancient bas-reliefs, there is no lack of belonging here, some even very violent, examples. "The bronze reliefs by Ghiberti (l from 1378 to 1455) on the main portals of Baplisterium to Florence, where Michelangelo said that they were worthy to adorn the gates of Paradise, contained in 10 major fields, each of which represents a coherent picture , scenes from the Old Testament, and in each of these fields are different successive acts of the same event shown next to each other. " "On the first field is 1) Adam was created by God, 2) Eve by God. From a rib of the sleeping Adam created, 3) Adam and Eve tempted by the serpent, 4),

both marketed by the angel from paradise. On second field is 1) Cain as a tiller of the ground, and Abel presented as a shepherd, 2) the sacrifice of Cain and Abel, 3) manslaughter of Abel by Cain, 4) the call of God to Cain,. similarly by all 10 fields away " "Just so is it in the paintings of Simone Memmi, Spinello Aretino, Benozzo Gozzoli, and others in the Campo Santo of Pisa, which fall into the 14th century and 15TE held. Way you can see on a picture of Benozzo Gozzoli (15th CENTURY .) 6 Scenes from Abraham's life story and to leave no room so unused to copies still shown as minor side scenes, various other scenes from the patriarchal pastoral life, etc " In the Cranach's like coming repeatedly in Holbein rare. The following examples concerning ancient bas-reliefs I gather from Tlken's treatise on the bas-relief. Apollonius of Rhodes describes an image work, the chariot race of Pelops and Oenomaus to the beautiful Hippodamia imagining. Oenomaus and Hippodamia crashes, his daughter, is already on the car of Pelops. On this point, a boom, this should not report that Hippodamia when Pelops accompanied the struggle, but the artist wanted to show both the run and the victory, and indeed success indeed, at once. - On the many representations of the robbery of Proserpina is seen on one side of the robber who kidnapped himself bucking the Virgin on his car, and often the mysterious figures of the underworld open. In the middle of Proserpina is still busy with flowers reading, and already the mother appears at the opposite end to their snake car with flaming torches to search for the lost daughter. All these moments are separated by nothing of each other, but rather that all the figures into a composition are arranged together harmoniously. Often unite with those even far more: the virgin goddesses, playmates of Persephone, Venus and Cupid, Mercury, the grieving Tellus, the military border flows, veiled Tartarus Heractes and Andre. On the beautiful sarcophagi of Capitoliums, imagining the death of Meleager, the corresponding moments in contiguous sequence found just as represented, such as an epic poet would the story of the decisive moment tell raising etc The unity of the person can be injured in two ways, so that the same person two or more times presented on the same image in different actions, which goes hand in hand most of the previous violation of the space-and time unit hand, or so that the same figure, two people are simultaneously presented, for example, a patron of the arts portrayed as Apollo, a beautiful lady as Venus, a woman revered as a saint by the artist, which are found in ancient Italian and German artists, among others, Holbein examples. 1 ) not unlikely to come even in the famous Holbein'schen picture of the Madonna both types of injury while ago by represented in the upper naked child, the Christ child and a sick child of the founding family in unity, in the untern the same child as healthy, which ill top is shown (with sick arms), can
1) It's

see. But the dispute over interpretation of these conditions is yet to be fought. Now the habit can contribute a great deal to mitigate the drawbacks of such injuries, and it can, therefore, a time and a people tolerate much more of it than andres one. So the question to ask is equal to how far the habituation can go and must go in order not to be itself a disadvantageous and here about are probably some general points, but not establish firm boundaries, and can hardly decide whether, what we now do with our addiction to or can not tolerate, is everywhere in terms of best habituation. It is certain that the art by such injury benefits are possible, so it flies over the nature far by can thereby make relationships clear in a certain way, what ourselves provides a means of nature, but it is only through a violent injury and denial of natural, temporal, spatial and personal basic conditions of existence, which, despite all become accustomed to the idea of effective representations always draws something, and where it goes beyond certain limits, safely deflects the displeasing. By the way, one has to distinguish here. Who to interest by nature true characteristics and work, wanted to commit gross violations of the unity of time, space and person in a genre picture, which is calculated in the main, it would be the main effect itself thus necessary disrupt and destroy, where it however more to to do symbolic representation of religious ideas, one is allowed to go relatively far in such violations, without the effect of harming considerably, but everything has its limits, stuck in general terms, I do not trust myself. The artist will naturally do well not to go further in such injuries as he may require to become accustomed, a practical rule, can not give him, and it did not find a priori determinable amount. 2.Deliberate restriction of the detailed design. In addition to omission of things. As a very general style rule, the execution in works of fine art not to push too far, regardless of the nature of truth so that you would come closer. Be found anywhere in images such as picture works the finest natural microscopic detail, and often much more than this neglected, and not merely out of necessity because one can not meet him, but of freedom. Because it is average in large paintings more of them neglected than in smaller ones, in historical pictures of so-called large-scale proportionally more than in genre-like in minor characters and side things usually more than the main characters, and main points; according to which the neglect or other reasons must have, as the outer inability of art. The next reason may be argued that all shall be governed by the execution of the individual completed, attention is inclined to refer to it and to be employed by, which happens to the main impression of the whole record. In and involuntarily attention is divided by every detail, scattered, fragmented, but

also through the places where there is more detail, more utilized, employed as through empty spaces. It shows itself in nature, in art but far more and with greater disadvantage for the main impression as in nature, from a triple bottom. Once we are one of the smallest detail continuous execution in the arts not just as usual, as in nature, so be struck thereof, which irritated, however, we say in nature, however, are so jaded. Second, the earlier (section 22) discussed with interest in perfect imitation of nature in the detailed design, the attention from the ideological content, which is expressed in the principal trains to deduct. Third, does what occurs as the main thing in nature, by the context in which it occurs, the precedents and the environment emphatically than substantive action, as in the picture, what offer any means to draw attention to themselves, must therefore also measure the performance of the objects with respect thereto to compensate the disadvantage in which it stands against nature in this respect by it. If it certainly would be no art, to keep in the completion of the detailed design same step with the completion of the main features, and we all just had so accustomed that perfection in art, as in nature, so would the interest and attention for , hereby dissipative force it, blunt accordingly. But not only that it is impossible to fully achieve the detailed design of nature through art, it is just as tedious as difficult, you just come very close. Therefore, the abstract art on the whole, even of the possible se delicacy of execution, and each more or hereafter to minority starts to exert an influence on attracting or withdrawing our attention that must be considered in terms of style most advantageous manner. Sandrart 2) relates that he once came with the artful van Laer to Gerhard Dow, to get to know him and his work to take a look. The artist had shown them receive courteous and willing his work. As if they had but praised the great diligence, among other things, which he turned on a broomstick that was about Few things bigger than a fingernail, he had replied that he was probably still working on the three days of it.
2) Teutsche Ak.

321

This anecdote is instructive in two ways. Who will give a natural broomstick his attention because of its execution; gives you a painted them because they are not usually found there. And how long it took the Dow to find yourself quite satisfied in the execution of the broom handle. Raphael had now also to every little thing like a broomstick used more than three days, how much painting we would have of him? But art has said so to say, for the sake of the advantage to have many completed in the main works, I'll let some of the benefits to which I each could have in the last completion, and maintain the requirement that completion equally not in my world. Like previous still is that the attempt to do it the same nature in the detailed design, but without being able to reach across it, with the strength of the main impression also very easily harm its accuracy. In fact, we take a circle passing

in an amount less bends, but so that the circular main form but, really occurs from a distance, where the curves for the eye glide over the appearance. Who wants to draw the circle with all its bends, the main form is easier to miss than he who draws the circle without the bends, and the more he will be entitled to do so if the bends are just disturbing coincidences. Because all of our imitative art is only an approximation, it is not possible, as that in each small patch, every dashes, what we are trying especially to reproduce, a small deviation from the truth takes place and the sum of these deviations can easily give a resultant which differs from their object the main impression. However, there are historical photos, make (eg from Lindenschmit) that seem assembled in the vicinity of mere blobs, and at some distance an expression of sculptural power and truth of life, such as not easily achieved by execution, is what the colors and shape resultants, which are given in the individual blobs, still striving to dissolve into its component parts. Only passed these images to some not to the advantage that, if one takes only a little closer, rather than by enjoying a fine version, dissolve in an unclean Royal scribble. So can also go too far on this side, and you will be congratulating need that there are no louder pictures, which one must remain above 3 step from the body, so as not hideous place to find beautiful. After all, they are far preferable to those which simply omit the detail, rather than pull it together in resultants, and then appear empty and weak in the same proximity and distance. Set by the way, an artist would have practiced it, to achieve the greatest possible perfection in playing the smallest details, so would meet him the same thing that the viewer encounters when he too turns his attention to detail, he would forget, the higher on the composition of the whole resting to keep benefits right in the eye. Yes, it would tell him to meet with all the art, what the Dow by Gerhard Sandrart reports 3) with the people he wanted to paint, met "through his slowness he behaved like all the people to sit, so that they their self-pleasing physiognomy adjusted and changed all of satiety, whereby its Conterfeite were also morose, moody and unfriendly, and the true life, the painter, and artist is most Necessary piece, not imagined. "
3) T.

Ak. 321

In Kugler Museum [1838. 381) is the painting of a Dutch artist, Schelfout, thought in landscapes as a companion piece to G. Dow's style of painting genre pictures as follows: "Every accessory is evidence of the same age, one can consider the foreground as the distance through the magnifying glass,. Seen the grass grow on the edge of the frame Each broken piece of ice [in the winter landscape] like a cut diamond, on which the sun falling beams. It is known that Gerard Dow painted three days in a broomstick, and I would wager that such a broken piece of ice, as you can see it on shelf outs foreground, did not cost less time and it is Mieris school, applied to forests and canals, Such products love the Dutch, and therefore Schelfout is her painter par excellence, the microscope in hand, feet

on coal stoves warming, admire it for hours and motionless the infinite world of his blades of grass, happy when they accidentally discover a grasshopper or fly therein, they have not noticed at first. " But the judge warns the talented artists "in this deplorable way" to go on, rather he should "heal from this bleak perfection;" by summarize Pictures of Hobbema or Ruysdael eye, see how the latter "on the canvass the major effects of the whole and the physiognomy conjures each main group so that we all include with a glance, without the eye somehow would encounter an obstruction of the main effect, however, but also the detail was supplied to him by a master. " The drawback to extensive execution but can in some cases be more important than in others; most importantly there where the weight is on the main general impression, which again depends on the weights of the represented idea, so just the larger neglect of the details in paintings of historical or religious significance, and whoever wants as tolerated Denner'sche heads that can certainly ever tolerate only as art pieces, while is meaningless according to when the whole idea of the image to compute the more the joy of successful reproduction of Nature Details to ever take pleasure in the picture. So could yes, Gerhard Dow had to go in as Raphael, and yet could also go too far in it. The first degree of art is ever the to enter the main forms, the second higher to give the main forms with their detail, but the one where the detailed shapes want at the expense of the main forms assert themselves or only assert no degree. It may be noted that there are sculptures in which the finest natural detail is reproduced with admirable fidelity, but without that we feel at a disadvantage thereof, but only one advantage: these are daguerreotypische and photographic portraits. But you may also notice that we are the faithful reproduction of the natural details such as its self-usual and that the difficulty to bring out with such reproduction and the correct overall attitude of the image, not just as there is for the photographic apparatus as for the artist. Under similar considerations as limiting the detail design delivers the omission of side things or reduction thereof. Mere hints on which so often occurs, especially in ancient artwork Part wants to focus attention on the main things, sometimes it does not consider it worth the trouble to use a lot of effort and cost to appearance of side things, some of the minor things about the nature of art itself often not well represent different than in hints, and often several of these images together. 3.Avoid palpable relief in translucent paintings. The stylistic norm, not the appearance of palpable relief in paintings to drive too far, should be made conditional on similar lines as the previous rule. That

the painting should not forget that it is a flat art, to say nothing, then they would have to banish the appearance of the relief intact, no one will say. Rather, it seeks to create the illusion of relief, but finds that it does no good for a higher artistic effect, to create the full certificate. The nearest base of it can be found if you can see how Galleries on images in which the average-to-find semblance of relief is far exceeded, to be admired by the general public.About the piece of art that the artist has made, they forget to look for the meaning of the artwork. We are so accustomed to accept the lack of relief in paintings, that he does not bother us, but we start to count its restriction to the essence of painting. If, for once, something more than the ordinary is made, assigns this strange answer, takes our attention, and the nature of reality Compliance Dere seems we emerge from the nature of painting. Could reproduce the painting throughout the relief perfect for the inspection, this disadvantage would be eliminated, but they can not see with our two eyes, for temporary positions and scenes of greater depth. Now we are reluctant less everywhere to find a Prinzipe by nature departed to see all met under certain conditions as a picture her departed among others from seeing. The rule not to go too far in painting with the appearance of the relief that is based, in the last instance on a lack of ability rather than nonShall. What they can not average, it is also exceptionally not want. 4.Translations into Ancient and Modern. In the forecourt of the Galleric di Brera Milan Emperor Napoleon stands as a stark naked hero, and on our Esplanade King Frederick Augustus the Just as Roman Emperor. - No one will believe that the liberal speeches Marquis Posa's Don Carlos cause of all the Spanish time was that the Barbarian King Thoas in Iphignie quite actually barbaric feels and acts, so that a Iphigenia the heroic age as fine had fibred sensations, as in Goethe's Drama. Too bad one has no general expression for such cases, as I have presented here in a few examples. In the absence of another expression I need, "Translation into Ancient or Modern" for this. What can you say to such translations? If they would not have certain advantages, they would not be so common, and these advantages is certainly taken into account. Who will deny that Napoleon as a naked Greek hero and Roman Emperor Frederick Augustus as a monumental character, which is called to bear, when the true nature costume represented. A monumental character, it is to do with monuments. These people had a meaning beyond the everyday reality, and should appear raised by the art image further, but the ancient character does today in some way by it seems to ennoble everything, the idea of the more so when it passes through a has been art convention and dependent habituation, as it was once commonly, used the monumental importance. Yes, despite that such representations are not up to today's taste, yet it could be said enough in favor of the same in terms of

contemporary art views. If only the art itself should be understood and can prove their right by her actions (Chapter XXII.), Then the right of such representations is just proved by the fact that they have once conquered a place in the art. In reality, it is common representation of art in general not arrive, and after Cornelius art has more to go on than beauty characteristics. At a bare Napoleon but can the beauty of the human body much better show than at a clothed, and the costume of a Roman emperor art is moderately better than a king in pants, which at least the form esthetician, which is only the form is not meaning of things arrives, may vote in favor of such depictions. So Napoleon the dress, this pure minor matter for the immediately translucent through the body, mind, to which the art has yet to relate last, stripped, and Friedrich August attracted the Roman dress, in order decently enter the exhibition halls. And if it does not violate our propriety, naked to see an old hero, why a new after so much art advantages to achieve with his bare representation, but vulgar prudery must undress themselves upon entering the exhibition halls and leave back there. So, I think, could be representations of this kind against the prevailing taste but according to applicable principles not defend evil. They have in fact only the disadvantage that they beat the demand for truth and the truth need to speak eye outright, and where this need is not stunted by the art habit completely or where it is victorious broken, however, they must certainly displease, and to also displeased, because the truth will tolerate absolutely no feeling strong opposition, and the monument of his man not abstract, but as a man of his time and his people to represent the task has. To convey this task with the task of representing the same time raised him above the common reality, however, has its difficulties, only the poorest agent to represent him uprooted from the same, just in dress but is one of the most vivid and falichsten Vermittelungsglieder of the individual with his time and nation. Whereas a certain idealization of the cut of the dress, and especially in the expression of the man with the lesser opposition can seek to encounter truth and feeling the sense of the difficulty of the task. Then a later section but will come back (XXVII). If the historical drama and the historical novel ways of thinking and feeling, which belong to the modern age, people and stories about bears in ancient times, which has not yet verkennende be underestimated following advantages Art Historical or mythical people and stories of importance - and only those will be used as a motif in art in general - are every educated known up to certain limits, and it will tell you so in from the front a ready interest met with, however, purely fictional stories and characters have a relevant interest only by looking to produce and yet rarely are able to produce that they seem just as true to life as it really those are. As high as you might think from the art, but not made by the Art King just as interested in us as the real Alexander. The alternation with the hackneyed material of modern times is the susceptibility for a last time to equip nationals and the circle of presentation materials and motifs enhanced by the fact at all. The poet is his performance so far relieved to not have to create stories, characters from the ground up, just need to execute and handle set. And since we, the old stories and characters generally speaking not just as to know in detail as the new, so is the execution given a

considerable margin, without getting into resolute opposition to our current ideas. But wanted to run but keep as much as possible together with our knowledge-provoking, so the interest would be easily lost from the other side. Trying to reflect the relative coarseness or simplicity of ancient times and peoples, can sometimes hurt, sometimes not employ enough, and the old feeling and thinking, the understanding stay away because we, feeling and thinking are now brought up to modern conditions. So pervades and enhances the historical novel and the shooting of the benefits of a significant and our interest from the very beginning appealing, substance more or less carrying in and Into the work we are familiar and seemingly demonstration and modern sensibilities. Here too, however, as a counterweight makes the wounded feel truth claims, but not everywhere contended that it berwge those benefits. General human is common to all times and peoples, and when the truth is quite herein maintained so easily overlooked injury in the same way as it expresses itself differently depending on the time and the people, they wofern are not too strong. So it is not commonly or simply be able to say that such translations of the Old should be discarded into modernity, but rather it will only apply in the first place, as far as holding measure is that the feeling of contradiction with the external truth will not intrusive - no artist is but may represent Nero as benevolent rulers, - secondly, that no internal contradictions of representation are conjured up by the translation mix, for example, features a rugged and raw reality abruptly with trains a finer culture. But in this relationship of a flavor more compatible than the other, and wrong, is to want to make their own perception scale here as the absolutely and universally relevant claims would be. It's here again just in front of a field of conflict, where advantages and disadvantages fight each other and alternately facing defeat, only extremes are to be avoided everywhere. I myself have the disadvantages easier claimed as the advantages in others the reverse is true, and no one will be able to prove to the others that he is wrong; well but it is in any case, to-be clearly aware of what the advantages and disadvantages are ever by itself, this can help to protect against bias if not of feeling but of the judgment. I quote an example, how far can diverge in terms of the previous flavor. Not just one, but several people whose taste I respect, have spoken to me in the warmest terms of the impression which the poetic beauty of the "Nibelung" Jordan made on them; also be demonstrated by the proliferation of applause, to found the new epic in the multiplicity of the constraints which it experienced already. In fact, it also offers significant advantages over the old epic in certain respects. Develops the feelings and situations in detail, all woven into a magical aura and interwoven with poetic images and lights, what a variety of different feelings, actions, situations, events therein. But I have the work can not be read by the main impression of the same for me, as far as I got, which was a rigmarole of old magic and drawing nature with modern sentiment and reflection. In a colorful fairy-tale world where the Magic is increased up to the monstrous and grotesque, we see the dragon slayer Sigfrid (on for ways to Hinder mountains p. 67) employ self-reflection on the definition and the sensibility of a hero (p. 72) is the same in contemporary expressions of pious filial feelings endure, the

stretching King Gunther himself (p. 75) in sentimental considerations and pictures about the power of music through which an "otherwise pathless All of sensation itself opens," lose the singer Horand (p. 102) the importance which have song and singer, not only once but may have in the future, develop, etc. And since the poet knows all the various poetic to say, he makes it his characters say in sufficient width, and sometimes they are not finished in their disputes. Against this, the magical creatures plays a very modest role in all the epic, the whole course of events in a single thread runs out, the people act very simply by their pronounced passions and speak like them, the beak is grown, often it sounds dry and prosaic enough, but they do not want to speak like the Jordan's, or rather as Jordan wants, poetic, and yet remain poetic. It is better to me on the whole, though it is the demands of modern feeling that I would make myself a representation of modern conditions, not satisfied, you have to be so pure here to the old time and way of looking at the Jordan epic, however, satisfy such claims, by finding thereby mixed with its modern sense, even in the old time, in so far as not feeling hurt truth objecting. Many in sensation but this satisfaction outweighs all the disadvantages of the latter aspects and does not come into play, however, the reverse is true with me they. But I think that if I herein, I must believe, tuned to one side and thus not fair enough'm against the poet, the opposite admiration which takes no account of those drawbacks, it is not less.

XXV. Preview of the three following sections.

We have (Section XXII) the stylize, idealizing and symbolizing referred to as the principal means by which stands the art beyond the mere imitation of nature, and reached their higher benefits. In using these words and the underlying concepts assigns to us now, however, the same evils as opposed to which we everywhere else in the field of general concepts meet, be clearly kept apart everywhere that it is not used anywhere in the same sense and the same space still. And so the following is not based less on their linguistic and factual usage. Too bad though, that we have ever wrestle with us discussions about the former. The substantive discussions would be much easier and simpler if we. For the manifold conceptual twists and lengths of those terms that occur in the same word label, just as much, according to a fixed use of language distinct and intelligible, had words with which we might enter into the consideration But it is not the case, and so we'll have to economize with those words and take to prevent the substantive discussions of conceptual confusion by linguistic and complement. In XXII. Sections is much thought of the terms in question only in relation to the visual arts, we summarize folgends the same in its more general significance for the art, though, preferably having importance for the visual arts in the eye.

XXVI. Style, stylize.

It is with such style with taste. One speaks of a bad and good taste, but in a strict

sense is understood only taste good taste. We speak of good and bad style, but in a strict sense is understood style only the good style. A people praising it, by saying that he has taste, and a work of art so that it says it has style, tasteful and stylish both used only in a good sense of objects of pleasure. What is the style in the broader sense, where still possible to speak of a bad style, the style of the common good and in bad sense? I mean, in the broadest sense of style is, for some aspects common form of representation for a majority of different types of art or works at all. The commonality may be due to the nature of the subject, which his various works impresses the same stamp. can find the people in the works, in what sense Buffon said: "Le style c'est l'homme", and recently Kirchmann (Aesthetics II 287) says: "The style is the artistic treatment of those components of the work of art, which determine their can not get out of the terms and the factual rule, but only from the personality of the artist ... The style THEREFORE always rests in the personality of the artist. " Everyone has his own style in this sense, and in a broader sense, each time, what drives art, their style, which can be good or bad, the narrower meaning is not yet here in consideration. - The similarity of form can also by the nature of the object, whether its substance or its ideational content or the genre, it subordinates itself be conditional. A le style c'est l'homme, and explains Rumohr the style "as: in the first sense of the marble determines the ore in the visual art, the wood, the stone, the iron in their style of architecture, one can not say gediehenes a habit to bow to the demands of the inner substance, in which the sculptor his characters really makes the painter makes them appear. " 1) In the second sense due to the general nature of the historical, the heroic, the contents of the genre-like style.In the last sense we speak of a picturesque, sculptural, architectural styles, etc. The claims of the object while it is in general the requirements of good style in the narrower sense ahead, but the point of the unity lies not in the style of the ore and can on marble sculptures in the picturesque style to the style of opera transferred poorly to church music. - The point of commonality can finally ruthlessly within a certain character of the shape on the nature of the subject and object of representation, as if, by a strict or lax, light or heavy, smooth or chopped, low, great style, rococo style Arabeskenstil etc speaks.
1) Italy.

Forsch IS 87

All these specialties of style over you can finally still find a point of commonality is that the idea given by the representation beyond the mere need for factual accuracy or adequacy also is satisfied in an advantageous manner. This is the style in the narrower sense of good style, on the terms we want to dwell below. Respect, one now sees a good style in this narrow sense of style as such, it would be logical, under a stylized representation as such a representation in good style to understand; 2) but in fact you need therefor prefer the term style or stylistically as stylized unless that one too stylized expressly adds the epithet good, and only under such condition may be the talk of art as a general requirement stylize. Against this, the term has taken on a par stylize something peculiar twist in the art conversation

about the visual arts. Certainly you will require a genre picture, that it was not held equally in good style, as a historical picture, but do not tell of the better genre pictures like that they were ever stylized by effectively under a stylized representation forming in art a Such understands, in which, after a in a particular art form hergebrachten, it was way out untriftigem or triftigem motif of nature beyond necessity has departed. For example, is called the ancient stylized horses, which the natural relationships in several not the same, no less a representation of modern objects in more or less antique character. As well as in antique sense but could be a stylized representation of meaning in Chinese. In addition, there are school definitions of Stilisierens as when E. Forster says in his preschool art history p 139: "A stylized form in the visual arts is a brought to the simplest expression name of the object", which, however, my usual sense not to seems meet, and completely the good style would be a poor thing if you wanted to judge him according to this definition, its derivation.
2) associated

with idealizing manner is essential stylize understood on p 57th

A kind of obstinacy of linguistic usage, it seems to me, when speaking of, in certain cases, which can be subordinated to the broadest version of the style concept, (by this is but is also one more artworks rightful from a certain point in common), rather manner of speaking as style. Once we mean by style one, grounded in the terms of the technical mode of procedure or handling of funds or in imitation of a certain pattern similarity of form or Farbegebung, so if one of chalk style, ink style, a style of colors order, one at Raphael's style painted picture speaks etc, without them much to make the concept of the Broken. One would like to talk, in fact, not instead of chalk style, ink style, etc, if you should ever think, because the externals of the shape and color of the stylus (style) is closer than the hand, would have the reverse designation nearer. In another sense, but using style to the style in the narrow sense or good style as something incorrect over by including one grounded in the subjectivity of the artist or an art school, commonality of form or Farbegebung understood that neither by objective reasonableness yet the benefits of good style, hereby not at all motivated, is hereby reprehensible. Again, one might ask, why style of style over only in good, style is the style used against only in a bad sense, given that the hand of the heart and the soul of the artist is simply closer than the pen. Like each other in the investigation thereof try. Once we think we have done the conceptual discussions on the various turns of the style concept enough, we deal henceforth with the matter of style in the narrow sense or good style, and on many things in previous sections (especially XIII. XXII) casual or short Discussed depth shall return. The achievable by a good style advantage has two sides. Once he is in the clarity, precision and certainty, ease, immediacy, concise brevity and clarity, short formal adequacy with which the mind or intellectual content of a work is brought to the consciousness of us, secondly, in a complacency of the form that apart from objective as a formal adequacy, precipitated, and which of several equally reasonable idea of representation of a given preferably to be brought to bear, which you like best

without regard to this adequacy. Both sides of the style have to unite to maximum advantage. One may say with a lot of insertions can something so right when held in clearly sets apart, but it is of first side more style in the last speech. Do much blocks in succession with the same words or close, does not damage the accuracy or clarity, but it is of second side against the style. In a picture, the main character may be represented quite right, but pushed into the background or so to the side, and so little illuminated, that it does not appear as the main character.It is the first side of a fault to the style. Among the different ways in which a garment can fall, like us, no matter for what reason, one way better than the other. The style requires the second page, that we prefer the wohlgeflligere, inasmuch as it is contrary to the strongly non-factual adequacy, for the representation of a dissolute person, a slovenly clothes could fit better and would then be preferable. It would be desirable if we had two short names for one and the other side of the style or the style in the one and the other senses, as yet both be subject to different aspects that unite only under the very general considerations advantageous use possible of the means of representation. In the absence of such identifying words for this we differentiate both the first and second page of the style and limit ourselves here, both to explain in relation to the visual arts. Let's first talk of the style of its first page. Nature makes sure not to let us know the items darzubieten directly under the best of its contention ratios generally obscured by circumstances, the main character through the minor characters, or does it challenge them before side or back, is not the impression of colors, lines not specifically harmoniously with the total impression which the whole thing to do, and trying at all to any positive tool to facilitate the view to support the main mood of course also such support does not require the same degree as the art because they do not its articles of the connection with the rest of the world pulls out, but presents temporal and spatial connection with it, the understanding supportive of self explanatory and shall be added to the impression of the subject. What's going on now in this regard the art of advantages of nature, they must not only replace the style of its first page, but where possible on offer. For example: the main character is to make as the main character claims. There are many means to do will be to choose between them so that the true nature and characteristics of the different style claims is still sufficient as possible. The main character may also be preferred by position, isolation, size, color, lighting, finished version, also probably by several of these circumstances. Somehow they must be preferred, otherwise it is an error to the style. They will claim the most advantageous position in this regard when they rose in the center of the painting and the other characters or excellently represents. So we see it, for example, in the Sistine Chapel and Holbein'schen Madonna. Thus makes in very many cases a pyramidal grouping almost self asserted. But a Christian child as the main character or as the main supporting character in Madonna probably not raised above the heads of others are shown, it runs too much against the factual adequacy with which no or only put the

formal of style for the sake very overwhelming advantages in contradiction may, therefore, it is preferred by brightness, almost always the Christ Child is the brightest spot in the whole image. This helps his nakedness or the white clothing that carries it in older stories, and often a light which emanates from him. Thus, while it is dominated by the Madonna as his mother, it outshines as a heavenly child's mother 3) , and so the style is ever always among the various means at his disposal, which are preferable to what is best with the objective reasonableness tolerate and which is best tolerated both sides of the style. Now, one can notice that for a cone with downward introspective tip, the tip can indeed no longer symbolically represent a summit of meaning as in the Aufwrtskehrung, but always still a rallying point, end point of the sides is an excellent point at which the side rails of the cone lead on both sides, and after those significance of the peak price must be given when Christ child, this performance is often still detained and placed the child in the top of a funnel or on the bottom of a pit, including forming around the same grouping people the side rails so especially in the Nativity or Adoration of the Christ Child by Mary, angels or saints. From the mere point of objective reasonableness, the adults could just as well just have to be two sides of the child in this case, this one will not easily find, and that comes in the bilateral relationship with the first style of consideration also the second in long considered as in a consideration of the masses on both sides of the main point of a symmetrical moment is what is pleasing in so because, as it does not contradict the natural expression of life. But now with the sinking of the child's need is in a pit all the more urgent to replace the lost meaning of the height of the glory, and when the child of his whole body radiates light in the night Correggio's and so many analog representations of the Nativity, while the adults on both sides next to standing or kneeling up the look, it is the substantive and stylistic demands sufficient both in reasonable variety of ways by the child herewith in its natural relationship to the adults, dominated by them, and as the object of their attention at the same time appears the most points for our attention, both symbolically appears as the light Come into the world by its light, and the view stylistically most captivating. To achieve such a unanimous satisfaction of the factual and stylistic demands but one of the main tasks of art; noticing them to the finer understanding of art
3) Should

the quintessential so-called Holbein's picture of the Madonna above child be a Christian child, the lower a child of the founding family, as it is the common view of the experts, it would be missed thoroughly against the style in which it otherwise holds Holbein for a master, by the child not only to a lower track is lighter than the top, but also by more complimentary appearance and Behaben attention, more attracts attention.

Lotze Although contrary, in his treatise on the conditions of art beauty of stylistic rule to attach the main subject of a presentation at the center of the image, first and foremost for landscapes (p. 55), but then general (p. 74) as follows: "The middle of a landscape image should not be used by the objects that attract the

most force our attention, rather they require an eccentric position, because it is an unlikely intentionality of the observer that he finds himself right in the sight points of the world, from which they disintegrate into symmetrical halves, and just as unlikely for the subject, that to him is investing the rest indifferent world as a center. It is easy to find unprejudiced consideration that each office of view is through a thicket effectively richer if he except the center of the landscape in an otherwise neglected towards a new world opens unexpectedly, as if he was being discontinued, which was self-illustrated only the third dimension of the expansion. A group of trees is quite vain and challenging stand in the middle, while outside their a graceful brings unpredictability into the whole .... " Next: "If you connect with that pyramidal grouping that are otherwise viewed as inviolable law of composition, the sense that the main character or main group should occupy the center of the painting everywhere, so we may well decide contradict As in landscape painting, as well. here, this position is too calculated and deliberate; like we admit that it is used in many church paintings that almost facing us the Church, so let's look at the center of the world, but profane representations are better by an eccentricity of its main characters the historical naturalness indicate by which these have been set in any fragment of the world. " So remarkable are these remarks of one of our most astute esthetician, I want it but not quite signed by up to certain limits, although I admit the fact, but the reason the same would interpret differently. I believe the main reason when an eccentric position of the object that is suitable for any reason, most, to draw attention to himself, appears to be advantageous in a landscape, it is that when a central position to the rest of the intrusiveness of the same or add occurs , attention is easily fixed so strongly suggests that the image of the landscape just as its marginal environment as seems mainly for the sake of the object to be what the overall impression harm because of the impression of a landscape does not spread from one point from but from to weave together the whole, which in principle there is no main subject in the same sense as a historical or religious picture for a landscape. The eccentric position of the now conspicuous object is suppressed to its rightful landscape value. Other images anlangend as landscape images, there is often the emphasis rather on a main scene, main group, main hand long, what different people contribute in different ratio than on a single character, after which, however, has no individual claim to the position in the middle, but the Scene group action to which we are concerned in the matter has yet to take the middle, and it looks really generally the same play. That religious images, where one person dominated by its meaning the whole thing, that person occupies the center, is not contested by Lotze, and portraits as an isolated view of major works of architecture you will find the position in the middle of course, without the impression of interfering intentionality to get them or to know what is also easily explained by the fact that we ourselves in the life of us intentionally, just to face each subject, to which we turn our interest and wander our view irrelevant from there to both sides leave. Since we ever from each image have the impression that it is a cut from the reality

out piece, then a picture with the main object (or the main group) in the middle of us basically less likely to feel an unnatural center position of the object as an expedient way, the piece cut out or hereafter devised us do what we can perceive rather than just pleasing to displeasing. Of course, if a single lady dressing up in the picture in front of the mirror on the wall, it can not be put in the middle to not to turn its back on us, and it may even give some side motifs that necessary to deviate from the central position of the main , as a general rule it seems to hold me. Among other things, we also commemorated the size as a stylistic means, the importance of a protagonist against other noteworthy figures. But it may be a predominant size of the main character partly be achieved that it is more to the fore and hereby appears visually larger, partly because it is presented with symbolic meaning as really bigger. At least not to push the main character in the background, ever unite several stylistic reasons. By decreases so, we seem distant, the detail thereof blurred, it draws our attention less on themselves, also runs more danger of being obscured by secondary characters, but you will save in the event that they as a half figure almost from lower image edge is cut, not easy to catch sight of this edge in the extreme foreground. Because once is apart from specific determinants of the eye not attracted most of the edge, but by the middle of the image, and the main character would be to place even after the height direction in this center, as it happens to the width direction, if not just to would occur so much in the background, and secondly there is the need mitzugeben some of the same environment with the main subject, wherein a portion of the subordinate figures of himself more falls to the foreground. In but provided that this winning some advantage before the main character in the middle distance, care must be taken that they do not reinforce the design of care, lighting, drapery striking advantage of their position too, and one can say, for example, that in this respect in the Lessing's famous painting, Huss met not quite right before the pyre, the stylistic dimension appears. A symbolic use of overwhelming size to designate predominant importance of a main character usually comes in too harsh contradiction to the truth of nature to often find space, and ridiculous it would be, for example, wanted to be a Christian child is greater, for this reason, as the adults, surrounding it represent. Instead, we see quite often in older pictures, the Madonna huge against kneeling in front of her or under her coat earthly figures kept, and also the Greeks, this means sometimes served to emphasize the overwhelming importance of gods or heroes. Like to have but you have to get used to tolerate it. Finally the color distribution can be weighed according to the stylistic significance of the objects, and Sandrart (T. Acad 1678 63rd) in this regard are as follows very specific rules, which are, of course, like all such rules, only so far carried out, they not in conflict with others, they surpassed, will rules. "So you have to create the colors that the frnemste throughout the work before all the richest, lightest and most come forth .... One has the common and consistent service to teach people the figure with bad or broken colors, as a result of which the

frnehmern several things reputation win .... The artist has to his befleien any time that the principals colored people with the strongest annehmlichsten colors come to stand at the lightest best place .... however, the dark colors are actually common and most useful to the common Persons who are away at an angle and corner. " No less requires the kind of stylistic meaning their consideration in using the colors. Once it is brought, for whatever reason it may be, to dress a given personality in a garment of a particular color, such as the Madonna for several centuries in red and blue, so it is stylistically, it also further to dress in there to to make them easier to recognize, and not to excite a question on the deviation for which can not give an answer as to the discretion of the artist. Certainly could be another answer in a certain motif find out what the style berwge consideration, so the difference could be justified. Apart from a certain conventions have colors mood character whose virtue they stylistically better or because there fit. If a painting make his ideological contents after a serious impression, so it would be against the style to present it in a cheerful color and lighting, while you can find several missing in older as newer images. As a burial of Fiesole in Florence Accademia Gallery to me was very strange by the cheerful colors of impression she made in contradiction with the nature of the task. All figures in it with bright red and light blue robes, blonde hair, many with golden halos, provoking such a cheerful feasts. In other pictures of Fiesole pleased us this cheerful character, here he asserts itself as a fashion. On the second Leipzig art exhibition I saw a picture where angels flying through the sky wearing the body of Moses (according to legend) in a cave. The angels had parrot colored wings, and thus disagreed with the sentiment that should arouse the image. It is stilistischerseits in the distribution of the whole substance of an image, to avoid two extremes, one of chopped, jagged, the individual insulating, and too much clumping into each other, the look confusing, representation, such as commonly found especially in battle scenes. The idea requires just as to be out on the yarn clearer intermediate links through the whole picture, as to find the very structure of the idea in a vivid structure and demgemen separation. So it is necessary to combine bondage and clarity of presentation. No less demand the style that one, mitgebe the object to its appearance, it is mainly to do neither too little nor too much around, at least as much as the name, description and strong development of the importance of the subject is necessary, if to those in complete isolation of the same can not argue and, as this is no longer useful, otherwise the attention is too scattered. I saw a great historical picture of Haach in Dusseldorf, performing, like the sleeping Christ is awakened by the apostles in the boat on stormy seas, making the apostle frightened and fearful facial expressions and gestures, but from the sea you can see nothing, as something in the four corners of the image and a striking up into the ship wave, the ship fills pretty much the image. Here is the external cause to which the whole meaning of the scene depends, too little given, and thus the imagination imposed an additional power that reinforce the impression of the whole place, and to revive, it detracts. On the other hand, we see

probably historical or genre-like scenes as incorporated into a wide landscape or the accessories of a landscape as demanding stepping forward, giving the impression that each of the two elements could make it through the oscillation between the two suffers by each offers more than what reciprocally supported. For example explains this by the following assessment of some images of Gentz, who found himself at the Berlin Exhibition of 1864, the Dioscuri in 1864. P 370 They represent a caravan and a Bedouin camp dar. here takes the scenic background as a prominent place "in it seems that the figurative reduced almost to mere decoration." By now both, Landscape and figure composition "make a the degree of same, the content but by various stakeholders to participate, the attention is too divided between the two and is not uniform, the soul quite fulfilling, impression into existence", the images achieve, despite the great technical virtuosity and its implementing care the effect which it would produce if it was the genre-like element or the landscape the other berwge decided. Like it on previous examples of style considerations after first page is enough, and it could act only examples here. The second page of the style anlangend, then nature will not take care also about darzubieten the means by which it seeks to achieve its purposes, in pleasing way possible the style has to worry about it. When someone reaches out an arm for something he can do so in an unpleasant, angular, clumsy, stiff or in a graceful, the impression pleasing ease-giving, do way, on purpose can be easily reached both if the same, but you will see the latter movement rather . Thus, the same idea in general terms with (whether directly or associative) ungeflligeren or wohlgeflligeren forms, trains are equally well met, and it is a matter of style, the latter is preferable, only with respect that but the idea is equally well satisfied, or if not, that is obtained from the style view more lost than the part of the appropriateness to the idea. Goethe once said (against Skizzisten 4) : "The visual arts is by the external sense of spirit not only speak, they shall satisfy the express purpose itself The mind may be superadded and then not refuse his approval.."
4) Propylaea

page 36

This occurs into the second style requirement. It is not merely depends on something for the spirit, the meaning of like, but to also offer it in a way that is pleasing. Hereafter we suppress the second style call like this: under the limitations authorized by the substantive adequacy or demand of the idea and the style considerations from the former point of form and proportion of representation are preferable, which even apart from that - what we call here for brevity itself want 5) like best, - but what we can put in: in different ways, such an idea can be further specified, is under the same circumstances, a preferred ones for which a wohlgeflligere se representation form is appropriate. But both basically comes out to

one, only that it can sometimes be more convenient to express this or that way to operate. In fact, any other form of representation corresponds to a different modified idea of itself, but the artist has up to certain limits the freedom of the general idea as presented or modified, and he preferred the most advantageous modification.
5) Elsewhere

is directly pleasing as has been verified to be well pleasing to the associative complacent, so the current use is not to be confused.

The considerations which have to be taken from this second point of view of style, will be just as little as that which occurred among the first to be exhausted by considerations and be different in rules ban, as that inflicts to every rule: it applies only to far as it is not limited or outweighed by other rules with which they come into conflict. We are also here Some Examples of possible without being able to avoid it, return rates in some earlier considerations employed. In particular, it is the principle of unified link of the manifold, from which important style considerations, the second type depend. Should it be considered alone and only as to the philosophical side of the work of art, as a symmetrical or at all be traced back to an easily comprehensible manner arrangement of the entire composition would be the most advantageous, and all counter-considerations to make this advantage but, as noted earlier stylistically as widely argued that one loves not only to give an approximately symmetrical arrangement of religious images, but also images of any kind in a certain equal consideration of the masses of both sides calls. (Vol. I. 181) But in general, but the main emphasis should be placed in works of visual art on the detention of an ideal combination of the manifold, which enters it in a more general and higher art rule. On the other hand, the second side of the principle of the single connection into account. That is, in so far as the feeling of a common subordination does not suffer from the all-linking idea what would be betrayed by a feeling of dispersal, the manifold is to bring as into play to counteract the monotony, and are accordingly positions, turns, expressions of the characters to vary as possible. Also you can see this stylistic principle of the artists followed everywhere, very often, however, also followed about what counterpart considerations allow. Probably the most beautiful degree in considering all stylistic considerations at all, as the impression proves itself, but especially in now in subject terms, provides the Raphaelsche Sistine Chapel represents the main assembly of the first page of the style as simple clear that it only makes a bother no one , a character in the picture or a thought about the picture between other extricate, and yet, what a inexhaustible wealth of movement, expression, deep and sublime sensation lies in this simplicity and clarity and swells the impression out of it.The second page of the style anlangend, the main arrangement is symmetrical, and how bad it would be exempt if one would be moved from the two secondary characters much closer to the main character than the other, but the symmetry is everywhere broken by lively movement. St. Sixtus is in a slightly different height than the Saint Barbara, and you say to yourself: it should not be the same that are, not after already the side position

close is equal to give completely get the impression of a mechanically feigned symmetry into existence, but not much different in order to destroy the beneficial approach to the symmetry not completely. Now, however, contributes to the stylistic life and hereby charms of the whole at that St. Sixtus of its somewhat lower prior to devotional full collection upwards, St. Barbara from the splendor of the heavenly vision looks of their slightly higher prior in humble avert downward, while the Madonna overlooks two and just by looking between the two, the Christ child, but slightly to the side, all by the nature of the task rather than demanded approved. An implementation of the same principle alive openwork symmetry can be found in the Holbein's picture of the Madonna. In fact, here the main arrangement is symmetrical in relation to the main character, but the six minor characters, three on each side, thus sliding against each other and show such diversity in expression of her characters, and especially heads that thereby the need for a life full diversity is satisfied in full. And here should not change much because back about three female figures in a series, or the middle one just can see to where to see the other two, or give up the inclined position of the center-most male figure against the other two, should not the charms of the grouping done by the decreased diversity substantial demolition. Just is not just like in the Sistine Chapel while respecting the single ideal impression with the advantage of stylistic diversity here by several characters seem to take care of other things as the object of devotion, while in the Sistine Chapel, the quite different ways in how St. Sixtus and Saint Barbara behave, only two by the different character of the personalities are modulated expressions of devout worship of the same subject. In the picture Holbein'schen falling apart, coming apart in the Raphael'schen margins. To learn about all appreciate the stylistic advantage of Vermannigfachung the positions and turns, you need over to view only the previous images so many old German, eg Cranach'sche votive paintings, where the members of the founding family organ-pipe-like with the same expression of the heads, the same expression, beside or behind each other kneeling, or even as some photographic family pictures where all the links to all fully prsentieen to poplar-like next to each other to turn to the spectator in an upright position or sitting with an upright upper body, just gehaltenem head, the face, which is not of course is merely against the style, but also against the factual adequacy, because there is no natural relationship, which could cause the members of a family to face so to each other or to sit next to each other, it would be the case, it should nevertheless not be selected on stylistic grounds to the image, because it is unpleasing monotony by itself. Also look for photographers something artistically formed to meet the style drawback in that they so justly bring the people and push that a certain variety of positions and turns it comes out, just that they certainly can not achieve it, what the artist achieved when the figures from a unified point of in his head is so that the diversity of positions and phrases appear only as the natural breakdown of such aspect, and the idea is carried out in detail rather by zerfhrt than such. Now of course one must imagine that the artists everywhere equal to envision this most advantageous execution in a state of enthusiasm not, it may also in brilliant

artists in happy moments happen - trust in the enthusiasm for the art or the artist seems to the enthusiasm in fact slightly too much -. But the artists know very well that a part of the appeal of the design is in the Vermannigfachung, and the position of the pieces in the head of most artists on the basis of this knowledge may often from the outer position by the photographer with back and forth and back differ only by the advantage that the inner figures not so awkward and incomplete experiments yield than the outer, in short, that the artist has more in the violence. But that in fact this style rule is often rather only a superficial knowledge of the same followed as a feeling, which knows the limits of its applicability, due to the fact that the limits are often exceeded. For example: If it does represent larger gatherings or elevators of many people, so our style principle of largest room is certainly advisable in certain respects and appears the same on urgent demand in order to escape the monotony. But now you can see it in real meetings and lifts rather the bulk of the participants voted in the same direction, turning, asked and obtained only by the powerful impression of all unifying event and a uniform mass action. Will the artists here have the stylistic consideration of Vermannigfachung exercise unlimited, it is this impression, to which it must be to do it from higher considerations than that of the outer style jerk overview destroy, and it would give the impression of a disjointed nature of it, so does it just here a very moderate use of our style principle. But it is not uncommon finds the wrong applied style consideration in this regard the meaning sacrificed, and yet recently I saw in a way very interesting picture, and what a funeral procession of monks constituted the expression of the countenance and the expression of the heads varied so that on this picturesque variety of uniform train the train was completely lost, and it looked as if everyone played a different kind mourning medicine. Where the artist to do so to say a kindness can do in application of the principle, and not missed it, is the representation of a battle Gewhles, because the ausgiebigste use of the principle enters it here all in the sense of the task; just delegate the task, represent a crowd, even already the character of incoherence and you will find yourself not easily built from the presentation right, if not at least able to center the attention of a major scene of combat. Some pictures are, so to speak, the rise in the external mechanical principle conducting our style, but still make a big effect in the audience with an ingredient or stirred pretty faces with no other benefits, including an illustrative example in Mises small. Is discussed Schr S. 423rd No less than an image between different figures, the principle of stylistic diversity of each hot contends. Thus, it is the same in the sense that different parts of the body which can move against each other, instead of being shown in a simple continuation of the other or parallel to each other, but in any angular position relative to each other. Only that here the limiting consideration remains that all the differences appear bound by a common psychic motive and this must be the general idea of the work of art, in which the character enters subordinate. Too much but each is equally prohibited by the opposition on the substantive adequacy or the demands of the idea

as the fact that it into a square, Rugged, and thus from the other side gets into the style Adverse (cf. Th IS 61). During independent representation of individual characters, as in the portrait or plastic, of course, makes this style rule with greater Reprints claimed as in composite groups, and who plastic figure you want to see, you will be able to notice the care with which avoid the artists resist this style rule to sin. Although one has to include at least according to the ancient Egyptian figures, starting with the sin against it, but also to the impression of the same, the most obvious example of the hanging thereon disadvantages. In the classic characters themselves of the calmest attitude here against no joint is quite idle. Again, however, considers this style rule as any against overwhelming demands of the idea is not random. Thus, some with less movement, some with of more uniform motion, some with schrofferer movement as the general style rule matches, in which Raphael's wallpaper image, in the preaching of Paul, Paul, like a rigid sign with right angle outstretched parallel arms is to say that there . But he should also stand as a signpost that is completely absorbed, which show a direction that does not go all; against the power of this idea holds no external style sheet rule. But you would not dare to portray Paul as a single figure so because apart from the lack of motive to the style of consideration would make this claim with relatively larger weights. Leonardo da Vinci s highly useful treatise on painting in 1747. Nuremberg, p. 6 14th Observat. The following rules. "Take in care that eueren figures in the head never stand on the side where reordering of the breast, nor that the arm the leg go right. Where further turns the head towards the right shoulder, then maketh a way that its parts abneigen a little from the left side. way round the chest upward so drehet head against the left side and the right part of the page should be much higher than that of the left. " But not the conditions of figures there, which makes the stylistic need to fight the boredom, claims are alone. Every large empty area in a picture or monotonous threatening hazard and should in this respect so much it irgends the meaning of the image allowed to be avoided, so it may be the stylistic needs in this regard are urgently enough to make even more of the factual adequacy or to sacrifice less, and all move together more than it could be the nature of the case, which incidentally also the need to give much held together clearly in close space, comes into consideration, but you can also go too far in, and to dense filling of space with the stylistic consideration of the first page, to keep apart all right, come into conflict. Some we can mention for example: A nice illustrative example of the use and effects of present style rule can be wrapped in the loose around the waist of Holbein's Madonna and found in long corners drooping red band. Objectively, it was not required, but you think it's gone, and you have a large remote area in the langfaltigen dark robe, which has now been revived gracefully through this simple means. In the Darmstadt specimens Everything is ever pushed close together, held apart more in Dresden. The conflict between the two style benefits here shows itself in the claim that some the more perfect space

filling there, Other, whom I associate myself, prefer the clearer stance apart here. In some other old German pictures but the room is filled with confused pushed figures that all clarity is lost. The same can certainly notice also of ancient reliefs on sarcophagi, but I believe that in this case mainly the following motive was determinative. The wall of a sarcophagus, the main provision to include the dead, and the only additional stipulation to take a picture work. If this happens out in individual prominences, and disrupts significantly the uniform appearance of the wall, the character of the first order to get more lost than when the mannequins pushing so close that they almost back to give a uniform interface and hence wall surface, the wall seems more appropriate to first base for the image work as intended for inclusion for the dead, briefly reveals a more outward than inward determination, which should be avoided. It is the same used only in reverse point of view, according to which one fresco paintings on a wall surface is no great apparent depth. A dramatic illustration of our current offers style rule in the following stories. The painter in Rome Platner had designed a Carton of the scene, such as Hagar puts her son Ishmael on bow-shot distance from yourself, and it really put as much of it, that a great void between the two remained. Cornelius and Overbeck came to his studio because he was not at home, watched with amazement this stylistic masterpiece and made their judgment about by an expression that they took an approach and jumped through the Carton between two characters, then what Platner, when he should have returned home, exclaimed with surprise: "that must have been two of her." Thus, the stories I have been told himself. After questioning by Max Cornelius Lohde situation is somewhat different, however, in reality 6) .Not Cornelius and Overbeck it were, but the engraver Matthai, who jumped through the throughimage, and this made the remark: "As much as I jumped away, got to go." Platner also have shortened after the picture so painted.
6) v.

Lutzow's periodicals. III. In 1868. P 5

The coloring is subject of the second side at least as important stylistic considerations as of the first side, what already IS 182 Th are some remarks. There are images where the colors are zugebrockt us to say so, and others in which they flow with a graceful wave blow then. But the symmetry in images that have represent life, must be broken alive, the sheer harmony of colors in images that something much higher, than represent this harmony waived only modulates take hold in such a approach that the Adequacy is still sufficient for higher purpose. Meanwhile, there are plenty of artists who bring the advantage of beautiful colors effect the main aspects of the image, and therefore some prefer tasks that give their very nature cause to bring forth such in the picture, reckless whether the task and finish else interested, sometimes even in contradiction with the nature of such a task fit, while others neglect the advantage over cheap of them, and put all the emphasis rather on the composition. This explains the contrast between the so-called colorists and composers. The same contrast occurs under the beholders, provided that a relatively more to worry about the coloring, the other around the composition. Both are one-sided, but the one-sidedness of colorists despicable than the composers, for a

composition, even in colorless outlines still have great merit, but not vice-versa without the color composition. It may not be without interest, from the nachzulesenden in further expansion, style rules that Marggraf in F. and K. Kunstbl. 1844 concerning the colorings are the following, as, abstracted particularly dug to find from the works of Giorgione, Paolo Veronese, Titian Gallait Others: "In applying the strongest, most emphatic and brilliant color contrasts the harmonious attitude of the whole is so strongly pronounced that nowhere a single color or a single light effect largely dominates by the colors and lighting effects are applied in such a way that they on the opposite side of the picture from the center points of the same color and same lighting effects match, which are all harmful, harsh and one-sided contrasts lifted and placed on the balance. process, the neighboring colors usually move in perfect opposites by a raised by the other, and last but on the whole the most perfect harmony is achieved. way we see next to the colder blue and blue-green, green and violet, not complacent to rule the warmer yellow or red, appear the white next to red and even next to deep black colors for himself, but the neighboring local color to let acting more decisively, while "through a third color that is in the middle of their property and to effect between the two, which hereby repealed certain extent balance is restored without coercion, etc. The author explains these rules with examples from the works of these masters, but do not forget to remember that the schematism, which they justify by no means be regarded as mechanically strictly bound by the Spirit is everywhere, which give life. Quite indicative of the impression that is able to make such a work of the coloristic good attitude, for the same stimulus are at all receptive, is what an anonymous reviewer for an assessment of Lessing's "Huss before the pyre" says: "On the whole, the work is not actually coloristic image. It lacks this uniform picturesque overall attitude, a pleasant structure and gradation of air and shadow masses and especially those full Farbenglut and colors of happiness, which the great painters of old and new time as a feature the highest mastery on the forehead support, so it lacks even the irresistible appeal that the truly coloristic work, before you even to his subject has been able to take possession, we would like to say that even at twenty paces dis-tance, in any beholder exercise will. " The diverse points of attack for stylistics to both sides at the same time offers the drapery shows by the great freedom that the part of the idea or objective reasonableness in general remains to choose the dress either way to create, and to color, style just as for clarity designation, characterization, wohlgeflligeren representation as to the people and even to a satisfactory attitude of the whole in shapes and colors can be used, as already indicated earlier (Vol. I.) was the opportunity to take cover. For it is in this respect in the art, as in nature, only in art still beyond nature. The fundamental reasons for the application and amendment of the clothes are given by nature by external considerations purpose, but it is close motives for the designation of persons and pearls, are interwoven with those motives and overgrow even those not infrequent. The art takes, insofar as it is an imitative, all

of which result in on the colorful costume of the Turks as the stately Altspaniers, but is now also by what then remains free to turn stylistic characteristics and Schmckung the people and the whole image is used. In the garb of personalities from the ideal areas to freedom in this respect, of course, is a priori greater than in those from the real areas because of the whole figure of the people and their clothes must be devised, only this freedom is repeatedly restricted by conventions. No less but these are the Whether as the how of clothing. The Greek gods, goddesses and heroes are partly clothed, some unclothed, always wearing the Christian God, the Christ child clothed in earlier times, now always unclothed, adult angel clothed children presented angels unclothed. It would have some interest to investigate the motives thereof closer, but a special study and a separate treatise request. We restrict ourselves here, a little closer to pulling the robe from the second aspects of stylistics into consideration. There are so messy crumpled robes falling over so beautiful that one of them has a similar impression of how an adverse noise compared to a pure sound trap. There are robes with so hard and angular broken folds that the eye stumbles at every progress it, and still others with parallel folds so that it just as gladly followed the teeth of a comb, both not uncommon in old pictures of the Madonna. There are so stiff bulky garments that they can not shine through the body and the soul movements that we have just the dress, what to see is not interested, do not see the person underneath. There is against clothes, which include the body as futteralartig we just playing the naked body, but nothing from a game with the garment of the body, which in that game and can continue to bloom so to say, perceive. All this, and even a great approach to it has the style to be avoided. Only course is to avoid problems such as di approximations to extremes, the right style not yet found, and now you can hear much of a rhythm of lines in the drapery, speak the drapery, without ever being able to him other than through its pleasing effect and indefinite expressions to characterize. For my part, it seems to me this pleasing effect, next avoid those extremes, much to depend on, that we feel first, the whole manifold of the drapery was under the ordering influence of a single psychological principle which represents the whole shape, moving and gown while preserving the natural conditions of his material moved, secondly, that this psychological principle itself reclaims us acclaim. From the first page it is the uniform combination of the manifold, what we like, but the pleasure it would easily remain below the threshold, if they do not thereby increased from the second page, that we out feel in the order of folding an order of mind that we like. A great, a worthy, a graceful, slight drapery generally owe such reasons their complacency. How wonderful is also in these relations, the Sistine Chapel. It is believed already in the sweep of the drapery of the Madonna, the massive heaviness of the dress of Sixtus, and the way that the dress of St. Barbara takes together to identify the amount, dignity, humility these people. The totality of all 'but the thing that contributes to the liking of the wrinkles Litters, what unclear sums in the prints of a beautiful rhythm is the same. Because in order to convince yourself of how little there to count on a direct, so to speak, musical attractions one likes to have at that expression in mind, the dress with the most

wrinkles Litters one need merely subtracted from all relation to man as introduce pure thing in itself, - what yet so difficult can not be - to think about, you would find such a thing on the field has grown, and to wonder whether one of the purely ideological conditions of the same still would find favor, not making denied, but expressly granted above, but that this can be a cheaper than if otherwise, whereupon the auxiliary principle can bring them with you to advantageous effect. Even the decorations offer a very extensive field for the Stylistics to both sides of style at the same time represent as long as they can act indicative and garnishing at the same time, and are hereby granted an abundance of examples to illustrate the general style rules, but we leave their analysis here at hand, perhaps elsewhere to return to it.

XXVII. Idealize.
Even with the idealization we have to talk about different concepts and expressions of the concept of between which one is rather arbitrary to decide loves to put as clearly apart. Idealize derived from ideal; under ideal one thing but mean the thing presented as they would be if they were free foreign interference and their nature contingencies, their idea completely equivalent to that for stripped Meaningless, reached a peak, which we see strive to reality well without it but the same reach, what everything comes out much the same thing, without, however, the concept of the ideal can also determine what you need for this tip for being problems, which achieve them standing in the way of waste want to think of the idea. Anyway, the reality does not meet our expectations in this regard somehow scooped in general, and one is, if not all, but many respects agree what to ask about the reality beyond the ideal. Now it is generally speaking an advantage of art that they, better than the reality to meet such demands for the pages that are actually accessible to their representation, so is able to justify ideas in this sense itself, which has just about done through idealization. But while it makes a difference, and it depends equally a difference in the conception of idealizing whether you have the essentials of an individual or the essence of a genre in mind.One can get an idea, have an idea of that which and what is essential to an individual by chance on him, and by seeing every moment of reality itself still has some randomness to represent the individual as looking like one imagines that it would look like if all contingencies, all unessential, abfiele for his character meaning lots of it. Wonders, however, whether a pure abstraction of the essential from the accidental at all possible and how it is to be effected. It is certain in any case that idealization in some sense understood mancherseits and such, and the portrait artist is held up as the goal to be aimed at by him. For a genus but is much to be immaterial to see happen, what essentially belongs to the characteristic of an individual, and so some understand by idealization at all, only the replacement of the character representation of the individual by a representation in which the general genus characters are brought to the preferred term, and provide The task of such idealization as a higher art on demand. What is in this sense an

idealized faces as a realistic representation, only differs from it in general, that is the idea that in combined concrete and held in the concrete representation, as in this one. For example, it is to depict a battle. Now they can be represented as a battle between the French and bedouin on Algerian soil in which the Physiognomieen the combatants each side with each other are so characteristically different than the reality corresponds, as done by Horace Vernet, they can but also as a represent battle of a certain general character at all, in which one of the specific nature of a given soil, a certain nationality and physiognomic diversity of the combatants is abstracted more or less, by the representation of the combatants either outright merely hergebrachte ideal types or only typical forms about with be used heroic, barbarian, Greek, Roman character, as is done, for example by Carl Rahl, where no matter if such a battle but the name of a real battle is settled, only that they do not make the right impression and , reflect a certain reality, and thus the impression that you really give zukomme a more general meaning. Both views are agreed that highlighting the essentially at the expense of the contingent, whether of the individual or of the genus for the idealized task is explained, and then we take it from this point of brevity, under the expression of idealizing in the first sense together. Far usual but as this view a second, traceable to the previous one although related but not coincident, after which the notion of the ideal is not merely the absence of disturbances of the preceding legal system or the mere fulfillment of a forward-legal idea but the positive concept of quality Beauty or force takes, and accordingly under an idealized representation of a beautifying the appearance of reality, ennobling in printouts or invigorating, the character somehow beneficial at all about the nature of reality-enhancing, understands representation. Now you can of course from a certain point all the evil, all the ugliness, all the weakness in the world of a disruption in its essence, a lagging attach behind their idea, and hereby give this view is related to the past and may even simply seem to coincide with it; reason enough that they are so often confused with it. But from the other side can be also the existence of evil, ugliness and every imperfection in the world, it was because of metaphysical necessity, it is to argue for once drop happened in the world of God, what it is not necessary here, even for essential expect maintenance of a stock of the world. And would you also start a abstruse argument over whether to be the original, true, ultimate essence may in any case not art are based on the premise of his disappearance, and has to beware, perfect to represent the imperfect world, as is their ability . Not to give the exchanged ticket, as if the evil lacking is their task, nor would such a world religious, but rather to the role played by the evil in the world, no less than the role of the Good through the arts in a brighter, clearer, purer, higher light will be provided, as in really wedge it falls, which implies that the disadvantage in which it ultimately remains and will remain against the good should be manifested, that it lifted the good by its contrast against itself that it would be overcome by him or destroy itself by its consequences. For this is the whole meaning of the tendency of a good world order, and only in the fulfillment of this tendency or views of its fulfillment, we are able to edify us. But this evil must surely appear as evil. What is the moral evil, is the pain and every

imperfection. Everywhere you can the artist refuse to represent the like, if not driving an historical interest to represent it by its full truth, or if he is unable to present it in reconciling from pleasurable interest or beneficial harrowing aspects, in itself it is not a subject of artistic representation. In so far but it is one that will be presented in its true role. These general considerations prevent any case at all to banish the appearance of evil in the art, and easy to throw together idealization in the first sense with the idealization at this second sense and confused, as it probably happens sometimes. So Hegner says in his "Hans Holbein" p 218: "idealize a face, ie the same set to the highest level of character, or enhanced with maintaining personal similarity in trains and position." Of course, where a person's character and thus his face and his external representation is not at all noble, he can not be that you set it to its highest level, so there is good reason idealization in the first and second to distinguish the meaning. In the first sense, the evil reality di significant moments can be idealized by art, in its purest form are shown, in the second sense, it is eliminated through art. Own, however, that in the definitions of aestheticians almost only the first sense of idealizing the validity, in the lively use of language almost only the second is used. With respect thereto, I think that it would not be amiss to drop the school use of idealizing in the first sense at all to hereby to leave at the same time drop the vague and unrealizable pretensions, which maintains kept the use in the first sense, however, for what as real art requirement is to hold it, the less easily unmistakable and confusion with the second view is not quite as unsuccessful expression of a possible pure, clear and striking characteristic of the individual to individual, the General in general terms is to commandments: for what does not coincide with it , is not just to hold. In fact, one has to take into consideration that a pure separation of the contingent from the essence of what one might view it, is not at all possible, but that what is of lasting importance, is everywhere overgrown with randomly varying so that it itself can not shell out so pure and the artist but only a specific expression of the essential, Major in the realm of chance may present without being able to lift it away from them. Of course, not infrequently encountered phrases and arguments concerning the particular portrait painting, as if the artist from all moments of existence of an individual to speak a Essentiale extract could be, and as if herein would be the right idealization. Whereas it seems to me that the portrait painter, not into it delivered rates in a ubiquitous reprehensible flattering and yet go beyond interest and meaningless realistic representation, has only the choice either to represent a face as it in one of his happiest moments, or as it In one of his most characteristic moments where a vorstechender train of people comes to vorstechenden expression, or where it can ever appear in a medium, so to speak equilibrium moments between its various modes of expression, may really once or now and then appear that way, and that a mystical power of art to do more than what the reality is able to achieve on the predetermined physiological and psychological conditions in this respect, although the same oktroiert, but can be neither theoretically justified nor detected in the experience.

In general, there will be a time for everyone, where the painter could do no better than its face reflect the way it really is so because ever reach the center of the painting, and it seems preferable to an approximately unpleasantly conspicuous hairs or Fleckmal, which has nothing to do with the essential impression to the Aufbehaltung to do, omit to disturb this impression as a result. Only is a hundred to bet against one that the person neither when she sits the artist, yet when he meets with her just in random life relationships, the same in such moments confronts in which they deserved to be painted from one or the other aspects. And if there is already a high and difficult task for the painter, the person in such in reality but only fleetingly temporary to capture moments in the idea to give them as faithfully as possible again, it's an all the higher and more difficult task , from the moments of appearance, showing off his reality, another, more worthy of detention, to construct, which would show him the reality when he met her just the right moments. Now but this one requires from the artist, by requiring an idealization in the first sense of it, so it is very much, but maybe not to ask too much of him. But when you think how often seem to think that the artist could surpass the reality is that it combines the power of his Spirit trains from different life moments of person to characteristics that can not come together then by nature, or a resultant of to give at once, which can happen in reality only to each other, and thus the character of faithful, concise, the person representing themselves more similar than it can by nature itself, so it is light, art reasonably be expected this, but it is before an impossibility to satisfy this demand, and to make clear just how she was to meet. If you then the artist, the person that he has to present, only by chance in a presentation evaluate moments and not easy in the presentation most interesting encounters, so this is even less at the photographer (and daguerreotypists) the case, and that explains the advantage of good portrait before photography. The photograph gives people, as it provides the photographer or the photographer as he presents himself, just mostly. Erknsteltem in a location with feigned interest Barem prints or anything, so it can certainly easily come, that the portrait appears more similar to humans than the photograph. But you see sometimes photographic images especially of women with unprejudiced calm prints and natural stance, which can apart from some technical imperfections of Photography absorb it, with the best portrait, but there are coincidences and the art is to collect the best chance to rule . The Art enthusiasts will not admit this, but it is so. Interesting to me was this concession, which wrung from the very factual impression of a Daguerreotyps the witty captain in s letters to Hauser (II, 81) in contradiction with his theoretical view that the expression one recognizes the prevailing view. "I am nothing less than a friend of the daguerreotype, but we now have a portrait of our Helenchen that is stupendous, you can not do it all enough, and it's just like a drawing in its purest Actually the daguerreotype had its destination until. reproduction of art objects, pictures, not by nature .... The Art image of a good painter that represents us the whole nature of a people [but it can? F.] is truer than the

daguerreotype, the only one expression individual due to all sorts of random session moment holds, and I will spend it on the picture of the whole person. " etc Now, one can ask: how it starts but the painter, from what he sees as real, the possible, what he does not see to construct. In so far as it is at all possible, it will, I think, be so. Every day we see the features of the human face change with the state of the soul, and then gradually a feeling developed in each of us at the same time the importance of these changes and the possibility of divergence, which obliges us to recognize the same people in its various expressions, if the face is distorted but not so violently that it exceeds the limits of what our feeling is formed. Are we not now even artists, then this feeling is only by contemplation of receptive, and remains only receptive, leading us only in the evaluation of the expression and its possible transitions, when the artist but that it actively with pen and brush in hand, has many countenances drawing and painting, trained, it is also to say so active in leadership of the pen and brush over with, and it is enough for him out to see a physiognomy in some of their changes to another, under would see different circumstances, and to be preserved to the more deserved to make it. Where it is not like the portrait of a question of, reflect a certain reality, but reality is only the motif lend to portray scenes and characters of general importance, suppression or blurring of the most individual traits in favor of this general meaning is probably to be out of place, and hereby be represented the way the way Rahl Vernet against itself, just not be represented as the only valid one. What to say in this regard, I want to run in a special section (xxix.), building on a saying Rahl himself. But let us turn now to the idealization in the second sense, the use of vivid language, and keep us from then to this. According to the, already in XXII. and XXIII. Section employed, considerations you will have to request an idealization in this sense, in so far as it is required by ideality of objects, and thus the characteristic part thereof; have to leave but still valid in so far as it disadvantages the part of injured or able to beat a weaker characteristic by the opposite advantages. The former is simple and obvious, while the latter leads to more or less dubious and awkward for the esthetician trade-offs that can certainly easily save you if you easily either, which is preferred in the art world at the time, or what is subjective by its taste even prefers considers relevant. Of course, if it is for the artist, God, an ideal Christ, represent an ideal Madonna, there are non-conventional symbols that are only an aid and emergency relief, no independent power of art as idealized human figures in no other means to current sense. Although the artist not hit it the full essence, it does not reach to the sublime idea that we have of this ideal personalities, but by the artist summarizes the available to him by way of illustration in the direction and even increases, in which the nature itself it does when it rises to exceptionally higher and nobler formations, but he does his best, and should not be intentionally or inability among them, as artists make no less than can afford the art in this direction. And so the Greeks in the representation of Jupiter viewpoint of what occurs in humans, also exaggerated, because the size of

the visual angle increases the impression of spiritual height itself. Now you can of course ask whether the art in general to objects but can not be adequately represented with the greatest increase in the artistic means, dare or should be represented as such by conventional symbols differently. But would even the answer is doubtful, then dares our art anyway, and so far she does, she has to idealize the sense indicated, for the purpose you have to want the means. As for the question itself, but following conflict should be considered. What is the art may go into idealization of the human, as it presumes that Divine portray it, she pulls the same down and are easily either the Migefhl space that was left in the display behind the task, or perhaps even more severe disadvantage that the task is considered fulfilled and kept the Divine for nothing higher than what the artist is capable of displaying. Both disadvantages can make a realistic possibility, the one with the more religiously educated in a higher sense, the other among the coarser natures. The counterweights against these disadvantages lie in the following. Involuntarily the man anthropomorphosiert but the Divine, and it can apply only beneficial if the art it presents in anthropomorphosiert worthier way than the artless imagination could have done for it to present itself. The rude man loses nothing if it is offered this worthy idea for his unworthy, and the formation of self makes sure that the image is not displayed as actual images, but as a symbol of what it actually is present, occurs. Who among us thinks that Allah really looks like he is painted. And where would turn into the other, the same way to represent the human in great beauty, grandeur, dignity, grace, humanity to face patterns of humanity, as an artistic representation of religious, mythological and ever rising above the earthly reality personalities. One must also admit that the Divine, his being considered by, is pulled down by the fact that the human is pulled up by it. Habit formation allows us to disadvantage those soon no longer feel, however it always makes us feel this advantage. The idea of the Christian God certainly is so sublime that one can say that he stands at the limit of what can the art in the way the idealization of the human allow to represent, and they will never be able to satisfy that just like with the representation minor ideal personalities. Yes, wanted to try it just so to show for itself, as the heathen gods presented their art, so would be predominantly in fact the disadvantages. His account is the only way to tell possible by the fact that we represent him in connection as peak center or main lever of a scene in heaven or on earth where the demand according to present him to his own idea of complete opposition to the call this relation in it to culminate to center, resigns, and the waste of that claim is therefore less easily felt, while the fraction of the ideological relationship would be strongly felt we wanted God out only by a conventional symbol, such as the triangle in a light bill or the represent the clouds down stretched hand. Therefore, you will never see a statue of God, a painted head of God especially, while it is still of Christ and Mary are such themselves. But if the world court, the creation story is to be displayed, so the representation can not be dispensed with God, and the representation of such scenes can not be dispensed without the art to say so to cut to the head.

Incidentally, you can see the effect of the conflict easily in so many statements about the impression, which the principal representations of God, see. Even where the idealization in the current sense of place is, the artist has to be careful but to exceed the limits of the possible in the natural light ends, not to achieve the opposite of its purpose. Everyone says immediately that if the point of view of Jupiter was exaggerated beyond a certain limit, we think we see as an exalted God would rather a deformity. A large eye in a relatively small face appears opposite a small eye witty or soulful in a large face. The same is true of the height of the forehead, and the ratio of the whole upper part to the lower head. Against this the ideal mouth is not only smaller but also more curved than the ordinary. The artist noticed the like do well and makes use of such remarks. But neither the size nor smallness nor vibration of one or another part may be exaggerated. The beauty is everywhere to some extent between too much and too little, and when the nature in the less perfect formations preferably adheres to the too little or too much, the idealization is to go the opposite direction and not too far have to go in it. Among the disadvantages, which each idealized representation in the present sense, even the most legitimate to have even more to overcome the unauthorized and which must contribute to the justification thereof in narrower limits than where she likes to talk, to limit it, the following of particular importance. Although representations of this kind do not lack any of the distinguishing characteristics: it is the woman, the man, the youth, the aged, the joy, the grace, the dignity, the anger, the affection Everything still have his peculiar expression, but everything is still run in certain general ideal types, and the return not only between different images, but often in the same picture with the greatest approach. Because of the wide spread in the reality of human individual circuit designs, modes of expression takes place in upgrades to the ideal of beauty and art areas more closely together and is on the top of a very small circle. It is so to speak a little round in the crowd together all the ancient ideal figures. The new act as depending in the same inside with little or beyond, but it is so far the case, the divergence is under the influence of the individuality of the artist and his characters verhnlicht or from any other page. Just look at the representations of Raphael, Cornelius, Overbeck, Schnorr, Genelli etc, and you will find it confirmed. Yes, most idealistic painters have to say that only one face beziehentlich for every age, every gender, every state, every nationality, which they in this or that emotion, which they then have her standing type, or in this or that different twist represent, and the figures of a whole people are alike in many pictures more hereafter, when members of a family to care for the same. In general, an idealistic painter certain faces are just as in the wrists, as certain letters a writer, and the result is a kind of calligraphic people writing from the hand of the artist, like any calligraphic excludes well but has little character, and in one usually recognizes the rule. Thereto but depends more than a drawback. To measure the height, it needs the Niedern as Elle, but if in a picture, in which Christ with a bunch of Jewish people or God with human personalities also occurs already in the subordinate people pretty much the Potential of idealization is made,

how not rarely found, what illustrates yet the height or the divine person of Christ? We have something analogous in such images as if the immense gradation between light and shadow, which gives us the reality, to be played in a few lighter tones, but only the light coming through the shadows to the right application. To the distances between the High and Low but we miss secondly the diversity that we are used to seeing between individuals of the same low level, since all are up shifted to the higher level, and this goes against us not only as an unnaturalness, but tired us by monotony. The faces are almost indifferent to us zeros. Now it is, however, by the beauty of all the individual figures with the variation, which still allows the ideal area and is especially exploited in positions and movements of the style principle XXVI discussed in section as possible, find compensation for these disadvantages in a certain way; to swim so to speak, in an element of sheer beauty, which suggests its waves only to the extent that the limits are never exceeded. But you can not deny that this swimming always comes under the same wave length in the stroke on the risk of being boring. In a judgment on the well-known genre painter Knaus 1) I once read: "The characters of Knaus and especially its heads are concise to the seemingly fortuitous nuances of character and true that they almost always make the impression that one must these physiognomies somewhere already have seen. " It's true and you will find the same with the figures of any good realistic image. But well to remember: you will have the impression that you've seen every face somewhere once in a lifetime and never in art, whereas, conversely, has the impression at the best idealistic images, as if one had the same face never in life and a hundred seen in art.
1) Dioscuri.

In 1864. P 382

Up to certain limits, which is now of course in the nature of things, and so far it is the case, who wants to blame it. The ideal area is just not in itself a great variety here, and by the idealistic artist in the natural role models as they need it, do not place it comes from itself to the already given art models and copy of the matter itself. Hang some disadvantages to it, we must in art everywhere tolerate unavoidable disadvantages, in so far as they bring greater benefits to us yes, the only question is to what extent this is the case here. And surely it would be more the case and we want to feel any disadvantages of this type of little use if the idealization everywhere not covered, as to where the idea of making her feed, so was limited to truly ideal personalities. Also, the same beautiful or noble face like you see at times without boredom in life, why not just as in art, and why not rather be here so if it is not quite the same. But in life, you would not like it, that all that is not enough of nature seemed nice, beautiful wore masks, and would be a whole people almost equally beautiful, the stimulus would be lost in the gradation of the Lower to peak lies, and lost the force with which the impression culminates herein. But why should it be different here, too, in art as in life? We basically need in the art is only an ideal Christ, and much people of far distances of Christ, and even section XXIII. gave opportunity to make observations in this sense. It is not disputed by the way is a distinction in the estimate to be made between

artists who have designed the ideal figures only for completion, and the posthumous artists, which nothing better but can not do much else than reproduce what they have received complete of those. By following the upward rising progress of the development of art, we see in those with joy and admiration to bring the beauty, grace, strength of the human form and movement to a since not exceeded level, and have the right to weigh and differentiation in the level, the We did not find corresponding with them, do not have to look to some extent in the areas of their representations, like fall. They were new and in great upgrade. But as we see more and move around at the same stage of small extent, the later idealistic artist, which is achieved by those as top as if the height of the mountain stocks only from its summit, finally descends on us to put a weariness, we must guard to be transferred to verkehrendem review of the works of the creative artist. But in fact it is almost exasperating to deal with minor variations, without new and most ever without distinctive character, always have the same highly accomplished style uniform shapes, positions, draperies, which one is so often encountered, without knowing what If, however, to argue that as encounters them everywhere on the military roads of art. It is quite blase it and begins to think of the Chinese art books, in which the painter is already mapped out all of the figures that he needs for his composition. I confess to have been affected by such an over-saturation, as I once saw in a local art association, a number of religious and mythological images and cartoons of newer artists rather one after the other, and to have thereafter at times felt a kind of refreshment and oppositional liking to a picture, what I randomly came to her eyes at the same time, and that makes for a divergence in its opposite extreme advantages claimed that those disadvantages are idealistic representations diametrically opposed, of course, also disadvantages, which are diametrically opposed to their advantages. It was an engraving after Rembrandt 2) , representing how Christ Blessing the Children. I have found the same subject already otherwise shown several times by newer artists, and everywhere a Christ in the conventional type, surrounded by a number of beautiful women and little angels of children, women all seen in the selected attitude and beautiful down garments, and almost always the had a feeling that this scene both games in the studio of the painter not as composed together for a good style recipes - I need this term deliberately rather than merely composed be. Unlike in Rembrandt, where I had (apart of course from the Dutch faces, which is indifferent to the substantial effect) the dramatic impression: so is it done, or yet, so it could be done, and so really was Christ on the ground of his people. The sublime simplicity and dignity of Christ comes here from his lower sheaths and around with a bunch of common people with the power of historical truth out, Christ sits in the open air, in the most natural posture in coarse, careless falling, no Stilprtension betraying and not style loose , robes, his face contoured for an old noble type, the same time serious, firm and mild look at the standing before him, child of clumsy form directed, which he sets out the rights to the head, while he holds it with his left hand on his arm, so it does not run away, because far to guess the meaning of what is happening to him, it turns, shy sideways squint, grumbled and put his finger in his mouth, not knowing what the strange man with his wishes, which it is delivered pushed by his

mother.Another standing behind woman raises her child, to bring it within the scope of Christ, as a bale about half pushed aside neighbor who looks around then look surly, etc. In any figure, is a trace of consciousness of the higher importance of the ceremony be identified, the women want to get the blessings of a miracle-working hand in front of the other just for their children; stupid or curious one sees the spectacle to. Christ alone knows what he is doing, and appears as such, who knows what he's doing.
2) In

v. Ltzow's periodicals. I. 1866. 192nd

And that was not really the high and exalted at the same time tragic position that Christ took to a people who only shouted hosannas and then crucify him: and the same probably occurs in ordinary idealistic representations of the same scene in the same sharp light. But I am far away, this apprehension and representation of the scene to speak the word in every respect but I think its just because it runs the idealistic rank in certain respects. On the whole, it even has something repulsive. After built you can still find only the ratios of Christ to the people in this picture, the opposite of edification is the relation of the people to Christ, and to present this edifying value in all of genre manner, not needs may correspond to what the has to satisfy religious art as such. Also, it was not necessary to present the mothers bring their children to Christ as representatives of the mass of the common people, they could be taken from a nobler parts of the nation, and from religious considerations may be even much just act the scene presented as a symbolic nature, meaning that the higher a blessing of childhood through Christ rather understood as misunderstood expresses itself and the spectator in this sense clearly imprinted. Yes, I have seen many realistic representations of such scenes in Rembrandt's mind, so I want to enjoy myself more so in only one not to fade even held idealistic, except that it looks rather the idealistic held in clusters. But when I said, you will most blas of the recurrence of such representations, I would rather just want to say that I have become even there. The prevailing taste, however, has been so subjugated by the dominant pattern that he is now looking everywhere for a custom need, what he finds everywhere. So blase but I'm not that I do not yet see the Sistine Chapel and Raphael'schen the face of Ezekiel, the grandest and most beautiful works of painting to admire Cornelius apocalyptic Reuter and me to enjoy so many representations of Genelli etc would be able , images that give the ideal, the ideal of which is by itself in an area that is already set by the imagination quite idealized, and keep you, and yes there is such an area, which, through faith, myth, poetry, symbolism is richly populated with divine personalities, with angels, patriarchs, saints, even sacred animals, with gods, heroes, heroines, and I would think it would find the idealized artist enough room for the pure satisfaction of the need ideal design. But where the real area of this ideal is only surmounted, this reaches down into the real, in my view the presentation, however, the pursuit, with to screw the real field in the height should be crowned

with the associated in the ideal area figures, can only bring vast disadvantages of the above type by near leveling of the Low and High. And I admit to have also counter-considerations of their right, that it can be justified in biblical images at all, instead represent the common Jews and subordinate personalities with today Mauschelgesichtern, with an up to certain limits idealized character, except that it done in moderation, and without such a profound injury to the characteristics, such as one is accustomed to find. And therefore probably not because of the character, we do not face even the ancient Jews, who play in the biblical stories, not with the faces of today's ordinary Jews, if only because the painters have accustomed us not to do it the holiness of those stories is reflected for us in some way to the living and weaving in people as a whole.Conversely, contributes to the decor in refined type, representation of all the people to representations, is not to be sought in the characteristic representation of the surrounding reality whose main purpose and main interest, the impression of such an uplift and encourage a higher mood. And if an anthropological likelihood that the Jews have common but as of today Mauschels looked before age so has after earlier (Chapter XXII.) Remark made by the artist is not scientific, but the prevailing notion which to which he has to work to take care of. But, with all the disadvantages of such idealization are not lifted, surpassed only by benefits, and you only need to rock bottom with the idealization to go, as you can see gone often, so overcome the disadvantages and takes the higher mood you about nor can thus find brings the character to such as it is brought into beautiful phrases through a speech, as long as you do not go to the bottom of the senses. Here, as everywhere, where aesthetic advantages and disadvantages argue with each other, a fixed limit of the right hand can not pull - again we come back to this and must admit a certain width. Can I now my taste, put in today's idealistic art, all in all, too much place after an extreme tendency template, do not want to impose upon others, but as expected By previous the advantages and disadvantages that you have to weigh this, right be designated; like to weigh in appreciation of contemporary art services differently than corresponds to my own feeling it after all. Now, you go with the idealization often reduced in areas where the idea of not preceded with an idealization, because of the misunderstood speech that art should elevate us to a higher realm of reality. Thus one sees here and there painted folk scenes from the profane history or the profane life, where all faces beautiful, all positions gracefully, all the clothes new, harmonious in color and of selected Fold Litters, or where it is more the case at least when we a scene people could identify with it, and there are people who find pleasure in such representations without being certainly really lifted into a higher realm in them: the feigned Empire is impossible, and it is impossible to put into it. The artist himself has not an insider, and the beautiful graceful figures in the general framework, the pulled the idea, but inside set, as developed out of it, and as he did into set individually according to a general beauty scheme, the viewer stick to the Individual or find yourself in general and indefinite manner intoxicated by the amount of beauty that you see here at once,

while they might look in reality a long time even after a single sample of it. But the income of pleasure, they have thereof, is surpassed by the loss they suffer in other works of art by giving users the higher beauty of the inner workings mood all individuals to the idea of the whole hervorzuleuchten and by the impression of the power of truth able to win, lost. A real sense of safeguards to this profit is hurt by the infidelity of those representations more than pleased by the frequent agreeableness of individuals. The beautiful lovely shapes and positions us so why are not lost, we see that it is not attached to the wrong places. Not only that, we can search and find images from that ideal areas, so also not without its reality itself, one need only consult the occasions when they occur rather enter into the truth of the idea as a step out of her. So the bride may be represented as a pretty girl in a peasant wedding, because why the painter expect, but to paint a wedding with a pretty nasty as a bride. Man marries prefer a pretty girl, they painted and looks most like the painted prefer. Where no interest in a scene exists, it is not to paint, and usually culminates in a scene in the interest of a person as the center of the relationships therein. As a result, now that the bride is pretty, they will not only win themselves, but also all relations to gain interest and appeal. If the peasant bride but not just pretty but also finely looks like when the bridesmaids and spectators all have pretty, or at least interesting faces, so we have taken a peasant wedding only the masquerade of such and all relationships lose the sense of falsehood of interest and stimulus. Now, of course, is herein held again no specific limit. Why should there not also among the bridesmaids at peasant weddings and enter the other pretty girls, and if you prefer the wedding looks in reality, where the most is, why should not the painters such prefer the idea and representation where there is most. In fact, he likes it, except that if it too much it does, the feeling of improbability in the audience is predominantly, and the joy is shortened more on the realistic fulfillment of the idea of the object, as the joy of having a beautiful face To see more, is obtained, so the painter can do better, dear one less than one more to paint;'s count can not be sure, how much. Yes he can find in his favor, to let all the beautiful lovely faces at hand, if he is a scene where they still are usually absent and have nothing to do with the nature of the scene, and only then he must have an interest apart from that in to set the scene and know the more satisfying by lifelike characteristics. Both of course are not able many artists, and so are many genre pictures such that they owe all their charm only the beauty or grace of the characters in it, the fact that they, if not the scene immaterial and foreign to be even contradictory, a loss of the power of truth carries, which is such an important life moment of beauty. Although one can in such images is still of some page find favor if they do not infringe on strong contradiction with the demand for truth, but it is the spectator always creep up on a feeling here that the artist flattered to say that the idea or abgeschmeichelt her something had , which contradicts the strictness of art. 3)
3) A majority

of quite clumsy examples of false idealization occasion I found in a small writing "over some images of the second Leipzig art exhibition of Dr.

Mises. Leipzig 1859", with men recorded in the writings of Mises little to discuss.

To illustrate I will remember an image of plate, which was once exhibited at the Leipzig Art Association, and earned much applause, and it has received little golden medal for art in a Berlin exhibition. It is the home course of a peasant society of a fair represents the center of the picture is occupied by a jubilant drunken fellow, and a fellow at the back you can see that he has done too much of a good thing. Herein and in a violin that carries one of returning home, but is also everything that you can find for the characteristic of villagers going home from a funfair. The 6 or 7 peasant girls who go along in the course, including a child who is supported by a peasant, are all very dearest lovely creatures with a loveliness and even finesse of expression and Behabens that they just like to look, but where there is a village with nothing but such lovely creatures. Such fine and such match faces to the coarse shoes.While some little face is a train peasant naivety, as it added as a seasoning, which makes them more charming indeed, but the ratio of reality just so wrong that the trait plays a supporting role. Moreover, the whole train is maintained so that an acquaintance of mine who is familiar with rural conditions, did not want to believe the picture really put the home course of a county fair; rather, the title of the painting "After the fair" as a pointed to such a decease, and the cheers of the boys was just a joy anticipated. "He had often been enough even for Bauerkirmessen, and knew very well that it is the in the return of such a completely different look and zugehe, as here, where the highest level of cleanliness and order prevails among returning home, not even beer stains on the pants drunks would be seen. " Only the fact it could finally convince them of his error, that is a fair for flag attached to a tavern in the background, which turn your back on the return ends. Asked someone now if I would have the picture rather viewed as the lovely peasant girl, replaced by plump peasant girls, as found in every village and would be the pants of the drunkard of beer stains, I would deny it entirely, but rather I would then like it do not watch, and a realistic depiction of uncleanliness would not even awakened disgust, as I now am happy to deal with the individual characters, but as I am trying to link the idea of the whole, and keep to the same, they start me to displease, I think bothered me, and that should not be. The artist could not represent the object at the same time true and graceful, it should not at all represent him. Art the way in which the idea is merely used to string beauties like on a thread without the common existence of these beauties much rooted in the idea of the whole, the same relation to the real, where they, in connection with equally beautiful and after circumstances, even ugly details from the idea out grow itself as the composite of all flowers by a thread related to the flowering wreath with flowers, stems, roots. One can in the former much more beautiful flowers attached, as the latter is able to carry by itself, can also probably even put up a wreath, because it looks like after all together much beauty without asking everywhere, how it is connected, but the art is but rather a garden full of flowering plants as a hall are hung in wreaths,

same, and while it is never weary of flowering plants, you will very soon tired of the wreaths. But again I will admit that a quieter train the idealization that goes through the whole of a representation of real areas in connexion, a charm about it can spread, which surpasses the disadvantage of stuck because the display is not with the full force affect the life itself gripped truth. The idealization must be only just low enough that the feeling of a contradiction with the truth does not occur over the threshold, but we all still seems justified to an existing reality in the terms of the sheer opportunity to vote. Then we can really enjoy it, as of something when it is not usually so, but it could be and would be. Here I include representations of Leopold Robert and Ludwig Richter. In fact, the families and folk scenes Lugwig judge to adhere to this closest example, you generally feel there are scenes of happy family life and a blessed life of the people, as such may be well and we would like to wish that they were everywhere. They appear to us by the artist from the mass of those who are seen everywhere, but nowhere to be seen has an interest, lifted, and penetrated the Lovely therein with such a fine, detailed and striking characteristic, and this turned the other way around so lovely, the whole so harmoniously tuned, we'll find nothing too little, nothing too much, and not so much an arrogance about reality than a quiet survey of reality can be seen in a field mustergltigeres it. Of a such we can probably even enjoy, if not make these representations the impression to be as pure true to real life, as, for example, to name just a few newer names, images and Defregger of little pictures of Hendschel, the more closely to the life, as we are accustomed to see it, join, and with the greater distance from the ideal of danger to reveal a continuous type, much less subject. Also this fall, but that's not the prosaic and the congregation, rather because they also know to set things in life that appeal to the mind or the humor in the scene. Thus, even hinted something more to the ideals or seek more the impression of a purely realistic truth the representation of scenes from real life, and both representations can each be enjoyable in their own way. And so to look back again to the illustrations on ideal areas, sacred stories are such not be excluded at Rembrandt's sense, only that it is not going to come down to the low order, as in the above examples by mainly idealized representations, and as Rembrandt loves at all . But just I saw a new picture of Hofmann in Dresden, Christ of the ships of the people preaching, in a sense, lovely beautiful picture, but I just saw only Christ who preaches a lovely lovely lovely grouped Assembly from the art world, not Christ who preaches a people.Rembrandt I would not have those, but saw this. Also in the field of portraiture you will have to beware of exclusivity. An idealized portrait in our present sense is a geschmeicheltes. Now, although the man in the portrait can flatter as in speech like that, but the flattery just like the only flattered; any other questions the true portrait in front. There are portraits of old masters with a red nose, lumpy features, blurry eyes, but we like better that we find art moderately better than the geschmeicheltsten and insinuating portraits so many new artists. I

stood in front of a collection of photographs of portraits of famous German literary women new time recently. For most of you felt out the portraits were flattered and turned with a kind of disturbing distrust the whole work through. However, even with representation of real personalities an idealization up to certain limits in the rights to be, namely, when the presentation is to be a monumental by monuments speak are also apotheosis, and it can have a legitimate purpose, a big man just to the side of his nature that has earned him the monument for posterity to bring to the characteristic representation. Here trains in this direction may be highlighted more, Reluctant be mitigated, as it is compatible with a very characteristic nature preserve at all. Many benefactors of humanity but the sensuality is been more than provide cheap; thereto aufzubehalten the memory in his countenance, his memory and can not pious memories of this effect. Only one must not conceal the fact that, by starting with monumental representations rather an idea that has been found in the people's representation, as is the man himself or fluctuates between that representation and its individually true representation, the strength of the impression of the The truth depends on, weakened and interest in what you take in particular to the truth of a portrait statue, is not satisfied. A monument to what the people are again in full fidelity, will always make an impression amplifiers in this respect, only slightly defeat the purpose of the monument, when the appearance of the people contradicts the monumental character. Happiest where there is a conflict in this respect does not exist, and the artist his man like that stone, which I thought (. Sect XXII) can abkonterfeien his Emperor, but the nature of conflicts, however, are not uncommon. A striking example of embarrassment, to resolve the conflict, indeed the impossibility happy to solve it, read that to be drawn up in Vienna's city park monument of the lieder composer Franz Schubert dar. 4) was the same for establishment brought together a capital and three artists, Wiedemann Munich, Kundtmann in Rome and in Vienna mushroom invited to participate with sketches of the competition for the design. None of the three sketches enough, and how it was possible, even the appearance in their characterful unsightly bluntness says the reporter, "where, as in Schubert not only the spiritual man, with his deep inner, feinbesaiteten, soul life, but as well among themselves than come in conflict with the style of the laws of plastic. these almost like the noble John the width previous body ... this plump Krauskopf with gourmet lips and bespectacled snub nose, who wants it make us in full figure, who can, without his own, the genius of the divine singer to do entry that is all Delicate and Liberals, the psyche of the German song itself for us the essence. "
4)

Supplement to v. Ltzow's periodicals. f picture. K. 1866. no 20

Wiedemann had the appearance Schubert played so naturalistically with the disorder of his hair, the stand-up collar, the rounded belly, that the spiritual significance of the man did not come about for debate, but the same appeared "like an

externally wohlkonditionierter official who between them in thoughtful position thumb and index finger pinch preserved, with whom he once came to him the right idea, will reward his nose ", while the Pilz'sche Schubert" in its genuine plastic, the Small and petty disdainful, attitude, with an expression of contemplation of artistic thought made a favorable impression, but very strange posed against the real Schubert, "contained the same no confidential appealing train." Neither satisfied Kundtmann's sketch. The rapporteur is now recommended in order to reduce the difficulty of the task was not to lift at least once, instead of a complete portrait statue to give just a bust and that too surrounded with relief-like, to the architecture to the subsequent jewelry. But perhaps it would be better to refrain from such a strong conflict of a portrait statue at all, and to dedicate to the memory of the man rather a foundation with the name and for the purposes thereof.

XXVIII. Symbolize.
The general concept of symbolization is that a sign is presented for the same thing, what the idea is able to give the same and thus is able to represent the same. In very broad version of the icon can now be viewed as a symbol of something spiritual behind all physical, the body as a symbol of the soul, the laughter as a symbol of happiness that is not appearing wines as a symbol of mourning, the whole visible world as a symbol of a, but related to their appearance, spirit. Even such a long version of the symbol in general considerations probably occurs, after which the whole visible nature as the whole art of taking on a symbolic character. But generally, and especially in the art appreciation bordered to the concept of symbolization but close by in Other detention is of the same character, which are linked to the spiritual without our intervention by natural or divine mediation, excludes from the terms of the symbol, and deemed to be a direct or natural, rather than as symbolic expression of the spiritual, so when the emotions of a person are expressed by the nature of mines and sign attached to it, or the workings of divine justice in the way of a true story pronounce it. Against this, it is a symbol, if God is represented by the figure of a dignified old, his survey of the world through the collection of this shape in the sky, Christ's patience through its representation as a lamb, the stupidity of a man by donkey ears. Because in reality, God's spirit comes not in a human form and its spiritual height not in a visible height, but a pervasive interaction from patience of Christ expresses itself not in the appearance of a lamb and the most stupid man has no dog-ears. The too-wide version of the symbol, which each perceptual signs of the spiritual is the same as the icon is too narrow compared to what merely sensory character of the spiritual are seen as a symbol, as rather under the current way of using the symbol concept in viewing art and Paranormal symbolic of can occur sensual. Thus one finds probably in ancient reliefs that a house, which can not be fully represented, and yet belongs to the understanding of the whole, is represented by a mere pillar, a whole mountain by a single stone, a living room with a during

suspended carpet 1) , here it is everywhere a characteristic part that symbolically represents the whole.
1) Tlken,

the bas-relief on page 82

In the Vatican Museum you will find a series Hercules statues 2) , which show that all 12 fights of demigod. One sees this but always alone and the opponents he fought, the triple-bodied Geryon, King Diomed made with very small next to his horses, as if only to explain the positions of the violent hero (Tlken, on the BaSr.). Here the Great is symbolized by his picture in miniature.
2) image.

In the second theory of Mus. P. Cl.

At other times the effect can be symbolized by the acting, or acting through the action or similar mess. Most symbols are based on association of ideas, many are purely conventional, or at least to understand with regard to the Convention. If, as often in old images of God participate in a scene with a reduced stretched from the clouds hand is called, we have both the spiritual through the physical, the effect by acting, the whole by a part, for its meaning by Sublime presented by a space sublime, but it still requires the convention to understand the symbol. In view of God as divine or imagined personalities can be the symbol at all threefold. Either the art tried the idea of such figures by idealizing it as close as possible to come human, or it changes the human type of representation beyond this property or forces from unnatural, or it is satisfied a somewhat historically motivated conventional sign for the attachment of the notion to give. The former, for example if they represent God by a man with an expression of utmost height and dignity, which is accessible from the art, the second, when the Hindu gods is with many heads and arms, the Third, when God through a triangle in a halo of light, the Holy Spirit represented by a dove, and the like. On ancient sarcophagi can be seen in many illustrations, which have reference to death and burial, and thus the determination of the sarcophagus denote symbolically, such as deeds of the heroes who won the Mount Olympus of gods or stolen (as in the Niobengruppe) killed mortals, the Eternal Sleep of Endymion, excellent deaths of heroic legends (like Phaethon, Meleager, Agamemnon) triumph trips to the islands of the blessed and others (See Tlken, the bas-relief on page 93) The symbolic expression of general concepts such as justice, courage and wisdom in exported image takes the name of allegory. Symbolizing sets the art in general in the state, not just the abstract of the mind and the concrete of faith, but also sensuous objects, their intuition about the importance of our senses or their representability beyond the scope of a work of art, but included in the same, and thus to expand the field of view of art through the addition of natural

intuition to finally bring in simple ratios symbols for easy and clear perception that escape through their complication with other conditions of equal light and clear view in direct expression. Now, if the symbolic representation in this regard can occur from direct to advantage, so they do not miss it but the disadvantages, which leads any violation of the natural truth with it whereby the natural expression is preferable wherever it is possible and with equal ease the view is to be produced. Generally speaking, everyone suffers symbolic expression, apart from the danger of confusion with the case of the symbol itself, to weakness of the impression in relation to the same easy auffabaren natural expressions, and symbolic representations would therefore be to banish all, if all natural for objects to bids not a relatively weak impression of something strong, which otherwise could not be shown, nor could be strong and valuable, and not the weak could the strength of that with which it is connected are increasing. Ms. Vischer 3) once said about the Kaulbach'sche picture of Jerusalem's destruction, it would be "pure aesthetic, artistic deep" was when the scene of the storming of the temple would have been treated so powerful in shapes, passions, groups, movement, mood of the whole, that from this alone, without an ingredient of prophets and angels, the impression of a great world-historical act, a world court, a finding. "Certainly, the only question is how such a performance without the symbolic ingredient was possible. One would just only the storming seen any city, but not the world-historical significance of this Escalade. now you will not be able to deny that this picture with its symbolism more busy the mind, as it is composed with the understanding also, as a "deep makes "unified aesthetic impression. But the way significance to which it was apart from him, it was but just get through symbolism and also the intellect can take a satisfaction in happy combination ideological means well, without, however, look for the main purpose of a work of art is to.
3)

Lutzow, Magazines. In 1865. P 231

The ancient Egyptians represented gods with eagle, lion, bull heads, to symbolize the properties of the clear-sightedness, strength, fertile force thereby. It seems to us absurd this is, rightly, because us can command more natural or natural, more approaching modes of expression in the formation and expression of the human head and finer features and the cons of abrupt violation of natural truth would be outweighed by a counterbalance. But for the ancient Egyptians wore this symbolization is not the character of the same absurdity. You did not know just as capable of a more advanced art, clear stamp out the expression of higher properties in the formation of the human form and features, while it was easy to stamp out by animal symbolism, and since them the wildlife itself as a world of gods and a container otherworldly soul world was, that was what seems more like a humiliation by the symbol for them a raise. These advantages have been sufficient for them to overcome the disadvantage of unnaturalness. Taken absolutely her taste is deeper

than ours, because it is based on an equally high level of culture and developed and given our higher and fuller enough, but for their cultural level he was maybe in his rights. We can make a similar remark concerning the above touched symbolism of the Hindus. The Greek is the symbol for a about human power and greatness symbolically by the ideal design of the human as an approximation as possible to represent, and the lower stage of the Hindus was this possibility fails, and so they attacked, for example, to a god rather than just having two arms with to provide twenty arms and to let beat bargain with twenty swords, they knew the superhuman strength not just represent different, and yet this was a need for them as well as with the Greeks available. Much as we might like disgust, but we have reason to be lenient towards those enormities, after we leave we like the unnatural sphinxes, centaurs and winged angels. As we have been accustomed to them, the Hindus of those representations may have been used after they found their use for purposes of worship. In any case, the difference is only relative. Of course, the Hindus have gone so far in such monstrosities that one might say there listening to everything. So when you get pictures in front, where a supreme deity riding on an elephant, which is looped out loud other carcasses strange to each other, or a rajah on a horse or elephant, which is composed of the all the women of his harem. 4) .
4) Bttiger

ideas for Arch times d p 10

XXIX. Comment on a saying of K. Rahl.

"There is, - once said Karl Rahl, a famous Viennese history painter 1) , -. anything traffic Teres put together as the artist with the historian, the story is for the painter no longer than for the tragic poet who used the substance in the history to represent his original idea;. substance must never be the limits prescribe samples, but the artistic sense, and if an artist wants to paint the history of his nation, he may not, as a historian conceive, but in the sense of a poet he must treat with poetic spirit, with the imagination of the poet, "etc.
1) Dioscuri

1863. Page 45

Against this I mean, the artist can treat the story the way Rahl wants, but he does not treat; least the history of his time and nation, and everywhere it is just as the nature of the historical task, as the purpose of the representation whether he should treat them that way. It is too easy drives to the natural poetry of history through the art of poetry. Only such historical materials, which are a bit of natural poetry, or

perhaps we should say generally, contain of natural interest at all appropriate objects of representation in art by me, as always understand by course what already exists apart from art excessive treatment. This natural poetry to bring this natural interest to the application, it is certainly a beautiful and worthwhile, even with predominance of this interest, the only rewarding, task of art, a freer transformation of historical material may be out of place even in relatively more zurcktretendem natural interest. I ask in this regard and held the theory in line with the theory of art as Rahl's the opposite of Horace Vernet. He has painted in direct contradiction with Rahl's ban, and thus achieved effects that could be made impossible with that prohibition, and yet can not be rejected by Rahl himself. "He was - to some in this respect characteristic words from a review of his work to lead 2) , - the art, especially where it concerned representation of modern expeditions and events of the war, both as history, distance to the abstract idealists who like Fakta to. structures make their imagination, he held above all to truth and reality He has the battles of Jena, Friedland, Wagram (in Algeria), and so described for the history of the world,. were preserved for us these images of the battles of antiquity, we know better . hergegangen in them as there is only a means, the field life to know better than from Vernet's pictures,. would you join it yourself "
2)

Forester and Kugler Kunstbl. In 1845. No. 68th

Now, while so many battle scenes in hergebrachten large, old style figures and positions that we think we have already seen how often, what I expect Rahl's own battle scenes, give the cold admiration idealistic experts, which they find in the spirit of their theory assets that Verne Chen, each used new and fresh from the natives of life, but on the battlefield, as composed at the easel, to awaken the liveliest audience participation, and necessary, even the most idealistic insiders concede them all, except what about the Tpflein which i think, and what you find in so many images created under the influence of their view almost without the base coat. "Was opened as the Konstantinesaal, - says a description of Vernet's representations of the Algerian field life 3) - he put the people in astonishment, and rightly; still pushes himself every day in these rooms the audience approach: do the fathers their sons in the red see pants and blue coats as they besiege Constantine, bombard and storm on the first painting "the siege" is the enemy, on October 10, 1837, set back from the heights of Condiat Ati,., the French shoot still mostly behind the stone walls out while her royal prince already over swings, but the commander is standing still with folded arms, firmly on the success hinschauend because; surround him several staff officers, and another is wounded, carried away by a Moor and a Bedouin in a white sheet; under this weights overthrow ancient tombs, which were dug in the hill, rigid skeleton forth - the old death of the young bewillkommnet On 13 October 1837 the columns set in motion,. while the bulk still keeps behind the entrenchments, where shot from breach of the general himself sitting quietly, leaning against a

cannon, and the 24th is the first company which runs the storm, according to their Days of Glory, then a column which still stands at the foot rifle to follow and, most recently behind the gabions, the 47th company, which is no more picture - this is pure nature, which together scored walls, the shattering in the air bombs, the jubilant Andri Constricting that the storm Ready parties, the reserve keepers, the quiet country gentleman with his entourage all. which is as natural as safe, that is certainly even the reasonable success, & c, ... If you see positioned with its red pants in rank and the French, one would think, an artist can do with this costume unmalerischen do anything, but Vernet shows what to do with it, but he painted them not one iota different than they are just for people to feel it often enough to convince by all appearances, when the soldiers are facing these pictures, then you could they immediately empathize with this, so one might say that are in the picture more vivid than the one before, and sometimes it is so, because the action is what brings life to the show, and thus knows Vernet bring about the tremendous impact. "
3)

Kunstbl. In 1845. No. 68th P 282

In No. 69 pp. 286 ff is still similar to the "Seeattaque of St. Jean d'Ulloa" the "battle de l'Habra", "the dawn of a camp scene in Africa," and the massive picture "the removal of Smalah" described . Everywhere the same interests, the same life. Of course, if Vernet such successes could not be generated by a free adaptation of the story in Rahl's sense, as little by a mere imitation of nature, but just by a cleansing in Aristotle's sense, his claims it would be better to explain through comments, as to replace the idealistic claim in Rahl's senses. Also historically significant faithful representations will the artist of spirit as such can still prove that, and networking has proven itself on the previous description that he did not bare scenes and these in their charac-stischsten moments from the best point of view for only the interest The representation selects what is already more than mere imitation, but also can have a preference to so many idealistic artists win in that it takes all the measures taken so important moments in their scene in the representation of the life that most only on the idealization and stylization outgoing artists have forgotten how. He is in his CONNECTION to the reality can not go so far to deal with to include all the interest in the object strange coincidences that might have pushed the reality. Vernet itself will probably have moved closer together in time and space Some of what the reality kept out of each other, have held many things more clearly apart, which is tangled in reality for the perception and covert, but surely only in the same interest, in which even the historian Much representing omits moves together, apart engaged to the main points of the real story, to do it is, the clearer, coherent, forceful darzusteltion. It certainly has the historian before the painters advantage requires that the outer form of its representation does not yet appear to be a form of reality itself, which is why it but also for the painter who puts an emphasis on the satisfaction of a lively historical interest, great caution required in such deviations from nature. Only minor points and only in favor of very important advantages of clarity and content of the

presentation, he will have to take it. With this respect, it may also have side things and minor characters, whose specialty at the memory is not liable at all, rather than how they were able to really be present and sell the remaining stylistic freedom in this respect. If you now want this apprehension, pure summarizing and moderate modulation of the moments of reality from the most consistent at the same time, most striking aspects, because it nevertheless remains for the inventive artist spirit remains subsumed under Rahl's expression that the artist had only to use the story to its original represent ideas, they have to deal with the poet's imagination, this would be objected against Rahl and similar sayings nothing Andres, as she so unclear or inaccurate express something right to make it easier to seduce than to correct inaccurate, but are in the Indeed usually rather inaccurate meant to be correct, that is, in terms of a one-sided preference for the idealistic art movement that has certainly their right, but not an exclusive right over the realistic. On this, earlier (Section XXVII.) Recognized right I come back down. But before we look at another example. In the supplement to Augsb. Gen. Ztg 1865. no 21 is a painting by Th Horschelt, depicting the subjugation Schamyl discussed, and said among other things: "We would be the painting does not do justice if we were to ignore that it is ordered by the winner, General Bariatinski, and should reflect the order in accordance with the factual faithfully, so that the portraits of the officers present, as the place where Shamil was found among the conditions. So the Russians commander sitting under a birch tree, its officers standing around him, and before him shall Shamil, led by an interpreter, followed by his faithful who in their picturesque costumes and their misfortunes against form a vivid contrast uniforms they be considered enemies. Certainly, then, and the matter can be done, and the painter has conceived each figure characteristic and formed, they are all in the matter, and in the middle distance, we also see the last stronghold village of Circassians, and behind it the mountain, which exceeds the crowd of Russians. Russians who were there, will be the satisfaction of all. But it was impossible overpowering in such a way the essential meaning of the object, the tragic end of a popular struggle against oppressors, whose kulturverbreitende mission us is still doubtful, to illustrate for which it took a dramatically moving composition, to not merely a moment of actually decided the whole thing, but such that would have shown the turning and highlight the decision of what spatially and temporally separated proceeded in life itself, would have united artistically into an overall picture. course, this is impossible without the factual reborn in the Spirit, is designed free of the imagination, and such a work of art behaves Horschelts paintings such as the exact newspaper or Chronicle report to the drama or the epic, in which the imagination of the individual poet or the folk legend, the facts of history transfigured, so that now shines forth the ideal sense of the stories from them and the characters unfold in the plot itself., the painter is always a Napoleon enter at Arcole the flag in his hand, and when times prove the historical criticism that he did not take it, because he was then really the victorious standard bearer of his people, and illustrating the legend. direct you remain free to the artist,

the reality from the idea and make the idea of, if his work not only with the factual accuracy prosaic, but if it is to ascertain the truth of the matter and its significance for the history of how the mind. But how often are the painters by the Client bound! ..... we still sowing the Schamyl as he raises his sword didst weaken the front, and now as a hero sums to his fate to wear at least! soul But this fight was done. Bariatinski received him sitting, and could be said of an interpreter, as he desired, so it was, just a pity that the interpretation is not picturesque, and the painter has to say through actions what is going on in the mind Horschelt has brilliantly demonstrated on his painting, what a sharp eye! and sure hand for the view and drawing of individual and national Characteristic suited him, he has proven in the leaves earlier mentioned his knowledge of the real Picturesque; may he come to that, even in an imaginative composition a fully sufficient to create a whole ". Explained previously is very cogent and refers to the higher task entirely in accordance with Rahl, who could face the artists by Schamyl used the process of submission merely as a motive, the general world-historical idea of this submission blazes directly hitting their trains than reality itself to express. He would like to have done it, but I would Bariatinski, I would the painter laughed in the face and have found the picture of the cast from the head of the painter at my feet sword on the upper floor, to have it not always see it because me, the violence, which exerted a poetic truth, against the real and legitimate my very real concern, too verdrsse. A well, but the picture should also to take on higher and broader value claim, so be painted to rather to earn a place in an art collection, a national museum, as the private rooms of the General, and held: Well, the critic says about particulate rather to satisfy a universal and eternal interests of the world and posterity. But I am convinced that not only Bariatinski, but the entire world and posterity view except biased Art idealists the image better and received a stronger impression of it if they know it was as if, as was the conception of the painter. I even made this experience anyway, when I saw a long time after reading that review, the picture in a stitch or a lithograph later. Shamil stands there, like a Jew, to which a trade is unsuccessful, all without deep pathos, he takes his destiny as a predetermined. And yet, this has in the condition that I see here a piece of real history, made a deeper impression on me tragic, as if the painter had tried all the depth of Schamyl and his people skills directly into his face, his position, gesture and place of action, but would have known it was not. I would have rather seen the painter as the hero who should be painted in the picture, so I saw the man of his people, his time, his fatalism, a man like him breathe and live in it, and received it just as much alive points of attack, from which the idea of the tragic fate of the hero and his people indirect, but developed with a force that would have missed the symbolic representation for the purposes of the critic. Napoleon with the flag in his hand on the bridge of Arcola was a popular legend, whose inaccuracy has later been found by detailed historical research, both the starting point and basic rights. But where was the respect of Shamil thrown sword before such an announcement. The cases are therefore incomparable. Had the artist Napoleon without the support of those applicable to history saga, but in contradiction

with the known history, so want to figure out his head to portray him "as a victorious standard-bearer of his people", he would have, rather than provide a historical picture, only the episode from a historical novels come in the picture. There is in any case historical materials at the faithful reproduction of the interest is so great that no amount of poetic seeming deviation from this may compensate the disadvantage of the damage this interest in characteristic features, and all historically significant materials that interfere with the time of the artist, belong here. In so far as the art can satisfy this interest, it also has to satisfy it, and not to resort to the flesh by its shadow. But, of course, to paint pictures as networking and Horschelt, one must be mitgewesen in Algeria and the Caucasus, to images of Rahl's rule, one does not need to leave the studio, because the machinery to such representations can be found in earlier images and costume books. So has Rahl's rule in any case the advantage of convenience for the painter. Meanwhile, we have so that we represented the realism of historical representations against Rahl, but the idealism not want to discard at all in the sense Rahl. , it only applies to one side rather than preach him to show him his right place. They will find it with biggest advantage there, where the painter must draw the material for his presentation rather from the seal or legend, as history; ever, neither the documentation for a faithful representation still finds an interest in those items that meet generally . An Amazon battle, a battle of the Trojan war, the painter only treat poetically free, because the story itself runs here in poetry, and a destruction of Jerusalem may nevertheless that it is historical, be faithful not historically represented by the painter, because the intuition this is missing, the news does not offer the painter hinlnglichen Anhalt, and a faithful as possible to the demonstration would not be interested in, that event remotely related, encounter audience. So it's okay if here at all no emphasis is placed on the satisfaction of an interest in realistic truth, which can be but only satisfy incomplete, however, you can try probably to make an effective motif for representation of a general world-historical idea of it, as done by Kaulbach. It will then be be based in terms of considerations (Section XXII.) Rather on the common and familiar ideas made by the art itself from carriers such ideas than on studies of the actual physiognomies and costumes of the ancient Jews and Romans. In this respect, it is not disputed even the realism of a networking gone too far, when he had been the result of the real results of its studies that the ancient Jews in general and into many particularities inside looked like modern Arabs dressed, behaved, then has recovered, at all represent the patriarchs, prophets and biblical personalities as brown Arabs. What has he won it and what has been gained? He steps out of our current ideas and satisfies only one of the art remote lying ethnographic interest, in order that it is not doing us representations of this kind and what is not so fused with our poetic interest, such as the natural representation of a scene in which our time is directly involved with. Meanwhile, a big man needs to go too far just to be in a right direction, they will certainly exaggerated by imitators completely. To give an example of this, as is a picture of W. Dyce4) the scene as King Joash to Elisha's command with the bow of

the liberation effort (as d 2 Kings 13, 15-17) thus: FIG. "Joash, a strong, young man, dark brown in color, with a colorful short kilt skirt, incidentally exposed to a kind of Indian garb, kneeling on the ground, bow and arrow ready to fire, directed against the open window. Behind him sits the prophet, also the brown body stripped, beaten a white coat just to the thigh, and interprets his commands with movement of the hands. " A judge of this image says, referring to the fact that Horace Vernet had provided in his Rebecca and Judith the model for such modes of representation, not unjustly, "I do not know if the artist of the loss of religious and poetic content not hold is against the profit a so-called true story, either in their baldness - sober as Rebecca - or appalling as the Judith - appears ".
4) Included

among the images of the London art exhibition of 1844, described in Kunstbl. In 1844. No. 70th P 293

Against this we have the finding of Moses in the Leipzig Museum Papety an example of how effectively the national type but can be accommodated in scenes from ancient history to advantage. You look at this picture, in which the Pharaoh's daughter and her servant, appear to be brown Egyptians with trains that are familiar to us from so many Egyptian monuments, with a peculiar interest, as it is able to awaken any other of the countless representations of the same object, where the allwrts recurring machines moderate types of idealistic art, ie the Greek faces, we also encounter the Nile. But it is only because those are Egyptian type is really common and thereby brought into mavollster way to advantage. Rembrandt and other Dutch artists maintain representation in biblical stories portray the people in today's neither Jewish nor Arab, but Dutch type. With all the uncertainty, however, as the ancient Jews looked like, we do know that she did not looked like Dutch, and have now even to the more or less ideal or ideals to the grazing type, which substituted for the Arts.has used, ie a measure bound to leave no contradiction with current ideas. Meanwhile, one can not deny that the persistence of this type by no means presents the same possibility of such individual, real-life, invading and generally understood characteristics of human feeling and acting as if the artists such in the types of his time and nation itself take, as in Rembrandt's representations thus giving us great admiration, and so would like this presentation, be if not recognized as generally to be followed, but also as a non-simply to be discarded.

XXX. Preference argument between art and nature.

Are fighting over their preferred art and nature? They do not do it naturally, but people do it for them, and we also want to say stuff about this dispute. The Shah of Iran when he visited on his journey, a London exhibition, surprised that a painted donkey should cost 100 pounds to have during a real 8 pounds, because you can still ride the real, not painted on, and it was quite a to Plato's underestimation

of art against nature (Section XXII.). Hegel asserts, however, the beauty of art as born of the Spirit stand so much higher than the natural beauty, as the Spirit and his productions are higher than nature and its phenomena. And the world seems so that they really painted a donkey more than a real paid to give Hegel law. But we must not forget, however, that in determining the price of a thing, the rarity or difficulty of procurement, except for the values of the same, much enters with a factor. If there were a million well painted donkey, here against only one or a few good real donkey, instead of now is the inverse relationship take place, the price ratio would represent quite different, as it has found the Shah of Persia, and would thereafter Real asses are really therefore paid higher because you can ride it. Now, however, be borne by the fact that works of art are generally speaking less commonly held overestimation of art against nature in natural objects as appropriate, even essential to the. Basically everyone will admit that but can not live without nature without art. And that in general the nature of art in the whole of utility is preceded it can not really argue, but only on whether and how they could do it even the nature of art and beauty to equal or surpass it. In this respect, the advantage Many may just as naturally and necessarily refer to pages of art.But he is not by unprejudiced consideration in every respect like that. Rather, so must offer the services of art by the purity and amount of satisfaction that they are able to awaken immediately, the ordinary nature services and offer her principle to because they are directed to this outbid so, however, can the artless reality that we of art over nature call, exceptionally, not only to achieve the highest artistic achievements in human and natural beauty, but also - while art only this or that side of being, life, ministry can offer increased at once to the highest perfection, an exception all the to unite cheapest possible effect, and thereby surpass the art both in power and wealth effects far. With all 'which they can certainly not compositions of a higher ideal character of God, Christ, Mary, angels and saints make, but the art has to herein really be a priority, but it is rather the priority of a thoughtless moderately sought as a descriptive level achieved, rather than an over flutter flying over the nature, and so much the art of height beyond wins, it loses power. To the real beauty of Helen of Troy was destroyed sake, with all Aufwande of idealization and stylization of a portrait or a statue of her would not have brought about, yes, Helena was once the most beautiful of women, so the painting, the statue could not even reflect their color and shape better than the reality of it was, and had to leave everything, cooperatively with the color and shape, was able to make the overwhelming impression of a heroic people. Only against the non-completely beautiful women of reality the painting is certainly in advantage in that it is their liver spots, leave their pox pits, increase the red of her cheeks, the fire of her eyes, giving her features regularity, breathe life and spirit, and we thereby in shape and color of the ideal of a beautiful woman can consistently represent what the reality, denied even though its not in itself incapable, but almost always darzubieten us, or presents only temporarily. As in general the highest possible natural beauty of the people is the

ideal of beauty art. For it is not the principle is the most beautiful man who is the most beautiful Greek statue most similar, but this is the most beautiful statue, which is the most beautiful people, the reality would be able to bring forth the most similar. We recall in this respect in the following intervention at some examples, which, so nice to see our disobedience against the ban idealistic, natural beauty, nothing done to the production of the human mind as an art beauty, come to the rescue. "The sublime beauty of Demetrius Poliorcetes could, as stated in Plutarch in his life, neither be achieved by the painters nor sculptors of his time, irrespective of the greatest artists lived in those days -. Athenaeus says that Apelles's Venus, from the 've seas rise, after Phryne as she stripped to the festival, which was held in honor of Neptune rose into the sea, described, and Arnobius assured that you have painted the images of Venus across Greece after this famous beauty ". "In the winter J. of 1822/23 the German artists in Rome had found a young man near the boys in the shop of a shoemaker who served their joint studies in all parts of the model and a beauty showed that meet all the requirements of art and to remember the noble youth formations of the Old was able. layer is not aware of how Thorvaldsen by the beauty of a shepherd boy from the Campagna, who served him when Ganymede as a model, run it was to make those admirable statue of him, which he has to repeat already 8 times in marble had the opportunity. One day I went (Thiersch) in Rome with two young artists, a painter and sculptor, from the Vatican, the long Via Julia after the Farnesina up. suddenly stopped at the painter. A young man of unusual beauty out of the common registry had caught his attention and his astonishment. He was once in conversation with him, and soon we shared the admiration of the painter. He was the apprentice to a baker. We followed him to his home in the vicinity, and the artists agreed on the location and the condition under which they would need it for their work soon with his master and family. Not a single youth shape from all that I have seen in Rome, seemed to me the nature of the male youth especially the angel and play the soulful expression of innocence and morality in the raphael'schen paintings as faithfully and as pure as this boy. " (Thiersch, Kunstbl., 1831. 180) "For it is when such only serious endeavor, not lack of opportunities, such as those brought about a meaningful patroness, the Baroness von Rheden, a few years ago when they brought the beautiful Victoria Albano to Rome, where the best artists modeled to be painted and drawn. Anyone stayed at that time in Rome will remember the waves with which spawned the most beautiful face, and the general agreement that such, in respect of compliance conditions, or the purity of its forms both All artworks Rome excel, and the imitative artists remain quite unattainable. " (Rumohr Italian Forsch IS 62) Now the artist likes the beautiful models, one of which was mentioned in these examples, still have changed a little thing, but he has thus made them really nice, but it was worth mentioning? He likes angels, goddesses made of it, and for this purpose they have been granted an expression of a movement, the models did not have. And certainly it is a great advantage of art that it is able the, but can the artist in the most

graceful movements, the most ideal printing more than nature can at all? It is just not very easy to make, that the most perfect figures also present at the same time graceful movement, have the most ideal expression, or just in front of the artist. Even, however, where the noblest expression whose nature is capable of not completely reflected in a beautiful vivid visions, the art will have to explain unable to achieve the same effect with their rigid means. What of human beauty, is no less true of the scenic beauty. The artist must be happy, if he succeeds, approximately reproduce examples and moments of such beauty as it is able to offer a favorable nature of self in abflachendem certificates, except that he has the advantage, while not as a teacher but as a student of nature , beautiful notes of the kind to be able to create and perpetuate itself. It may be that a landscape is very rare such that not the artist something you impose, omit it, modify it, or want to modulate to produce a convergent and concentrated favorable impression, but one encounters sometimes views, of which you say to yourself, they should give as they are, a picture, yea you probably fahndet traveling to such views. But where the natural landscape the artist in the image of not doing enough, it is able to detect relationships that are the artist completely inaccessible, so much to do about it, that there is no painted scenery, the sight of that in art interests just not quite rising, People could replace a rewarding view of a mountain, a view of the sea in beautiful lighting to give a good picture at all incapacity. You do not want to admit it, so you can ask someone whether he would prefer once standing on the Gulf of Naples, the landscape that spreads since before the eyes, or have just as once considered the most beautiful landscapes of Claude Lorrain, Poussin, or rather like those landscape have always in his room before his window or these, he would not necessarily prefer the first one? While he certainly perhaps the landscape by Claude Lorrain rather have continuously as the much richer and more intense impression of a similar natural landscape once would have temporarily. But the cases are incomparable. In any case, given the painted landscape in front of the real advantage of being able to be truly obsessed, and then must always be to the consideration of new command. Even the art-historical and art-critical and art school interest in what the specific art connoisseur likes to take on the painted landscape, interest in what we take all of the successful imitation of nature in the picture can replace us no real landscape. Ever assigns the painted landscape of the whole of the products of the human mind and under, gaining importance and relationship thus leading away the natural landscape, to have made a landscape itself, it makes the people less expensive than the natural landscape, in the natural he finds no occasion to admire the power of their own people. So keep the good always painted landscape by certain relationships and interests of the most beautiful real value addition, but only for certain relations, as a whole they can not do it to do the same. Let us turn to the highest achievements of art, it can by nature a world court did not clearly demonstrate how the arts, but to us as such really the art before? We have the visible light they are, only make his idea, questionable how much we make it; yes most people who see themselves on art, are rather of style, grouping, color effect of

the image than at the world court thereby think probably find even this level of the picture entirely immaterial to his art, performance, and do not understand art, will not know what to make of the strange scene, but in any case, the image is not as deep and powerful in the human mind grasp as one, the art of nothing budding, real act of divine justice, which is against him or those on whose skill he takes part, practiced, however this this course, man can unmoved by pages, by which the Art touched him through the image; without having the strongest emotion that is able to generate images through it at all, to achieve the value and strength of the most valuable and most natural of elation. In all these things we had in mind the visual arts, with a similar but this is true of poetry. All the feelings that can be awakened by poems are those Abklnge, which is able to give life rarely with such purity and unanimity, but with disproportionately greater force. Also there is a poetry of life as the words. Although between our businesses, between books, files, steam engines, our conventional rules and conversations, our education through word forms, we forget how easily all that there is such, and easily believe what poetry is, if only in the books edited by Goethe, Schiller, Uhland, Heine, can be found, but have only themselves drawn from the poetry of life. But does not remember one or the other of a time when he himself drew directly from life, what he found just scooped back into the poetry of the poet. It travels somebody through the mountains, he is healthy, his mind is open, the large and varied nature, the simplicity and yet novelty of the manners of the people, the changing travel company, the Alpine economy, the brown girl, the strange Englishman falling asleep while rustling of the trees, the rippling of the underground water with the thoughts of home, with the expectation of the scenes the following day, in the morning the fresh mountain air, the rising sun, the scent of herbs, the power of the elements, the inner desire, is the overall effect of this is not even poetry, and who will want to give this poetry of reality for the most beautiful poem. And yet we can not ignore the benefits of the poem again. As I mentioned there, all could be together and work together in a journey, but is it really so easy and the case is it so pure the case. Can not save all of us the poem numbing fatigue, boredom all, all uncleanliness, all quarrels with greed and meanness, nastiness all that we do. During the actual trip, and it would incidentally the best need to take into purchasing Clean it summarizes what harmonizes to a purely satisfying effect on the mind, it is accompanied with the music of the verse and can help beautify as Reiselied the journey itself. We can use it instead of the rare and costly travel at any moment have nothing. And finally poems can lead to higher areas of our imagination than the reality in which can be just traveling with the show. And so it is basically useless, that art and nature to their advantage and benefit generally argue, but if any of the other benefits must admit to certain relationships. This is clearly the position to put it in the eye and to appreciate properly. Let us now but continue to so, however, we will have to admit that it is with music and architecture differently than with the visual arts and poetry, provided those arts

added to bring the benefits of artless life new services, of which this is not equivalent and hardly provides an analogue. What do all natural caverns and bowers against the easiest house, and say to the singing of a clear human voice of the nightingale's song (apart from its classification in the spring). Yes, however, the visual arts has to go a long way of development before they reached only the common nature, exceed in music and architecture have the same first of its steps, and so is no rivalry between the natural environment and these arts basically instead because from the beginning that this beginning to lag behind. Let us therefore also below the reference page for it to be considered for the ratio of the visual arts to nature yet from another point of view than before. So little, art has to put in every respect over nature, she has so little to separate from her, but just as you continue to be rooted in gehends to bear fruit than for them. All rules, which the art may claim to be, you specified by a human nature and things that was there before is beyond art and the arts, and it only applies to herauszuschlen in relation to the purpose of art is pure and clear. All designs and forms of art has not only initially to draw from nature, but also continues to draw new gehends it, otherwise it dies out in a conventional manner and nature. It condemns the pure imitation of nature through art, but worse, the pure imitation of art through art, before being preserved only just getting a new decline to nature. Not that art would always start all over again from nature, then it would always start with the same rawness. In the earlier art is a large capital, has thus to do business later, but no more a money-capital is increased by the fact that piles up the existing money rolls in ever new order, it is with the collected art capital of the case, only the shafts, the fields and forests of natural life proliferates's how it just so has its original stock, however, the spirit of the artists had to achieve it, but could not get out of his own maintenance of a stock. Of course, since the rights lies in the conjunction of two factors, it is missing again not one-sided, which soon soon bring one to the other with neglect or even denial of the opposite advantage. Leonardo da Vinci says in his Treatise on Painting (Abh.32): "A painter should never imitate the style of another, otherwise he is just a grandson, but not called the son of nature, because the things in nature are. so great abundance exists, that its rather to take refuge on this nature itself, as compared to other champions who are gone but also with her to school. "On the other hand says Squarcione 1) , one of the artists who in the 15th Century dawned, the high value of ancient art, "it would be very foolish to choose the good, High, Magnificent with my own eyes in nature, to want abgewinnen it with their own forces, as our great Greek ancestors long since the noblest and representation of the value Estonians seized, and so we could already get from their melting the purified gold that we need only obtain ausklaubend regret as meager income of a wasted life of rubble and greeting of nature. " 2) .
1) According 2) A master

to Goethe's Old K. u., Collected Works, Volume 39 P 145

of French art of the 2nd Half of the last century even forbade his

students to study nature, "so as not to spoil the taste." (Meyer, Gesch. D French painting.)

Both sayings appear in full contradiction with each other, and yet are equally cogent when they are only cogent connected. Each new purchase of art can not get less than the first artless only from the nature of di world, but only to rise and to significant power and height on the basis of the previous acquisition. Had the artist to learn anything from nature, the art would also be at their summit and at its end, but it is this very reason can not reach the end, because the nature which we so here at the art all life outside to understand the art, never comes to an end, but continued and developed, and if we have to admit that can not be the ideal figures of Greek and Raphael'schen Art exceed, even relatively allow only slight variations, not by the it reached the summit descend again, so just be yourself but these variations can only draw from nature, and only by virtue of such variations, the art that moves in such an ideal figures, still retain interest. But yes, the art is not merely limited to the area of ideal forms, to idealize is also a characterization, and the deeper into it attacks the art with their task in the real areas of life, the more substance and form can learn from them and have to pull, yes it is, as I indicated earlier (Chapter XXVII.), might come a time where the ideality, the individual figures in one does not know to push higher, as it is driven, but the impression is thereby may increase, that they restricted more to the peak point of the representations, and subsides by the idealization of their idea to lower standing figures with advantage for the characteristic. As has now outgrowing the art from the natural reality, always to attract new drivers from her, she also has possible sides to fall back into it. They can but only if they are the natural interests not alienated, rather the interests of the world , of life, of faith, apart from art made, accepts as its own interests with love, instead of just to see an indifferent base for their design in the sense of so many art enthusiasts. An attack points to is not lacking. The religion takes the brush and chisel for objects of worship in their temples, the history of demonstration and assembly uplifting examples and reminders in public buildings and halls to complete. The grateful recognition of the merits of great men wants to express in monuments, the palaces of the great sculptures adorn themselves with a large scale and the apartments with the little ones in such a small scale in adequacy with the ratios and inclinations of the inhabitants. Thus, the art instead of a kingdom to life, a decorative element of life itself is Common ground was that of the ancient art much more than ours, mainly their existence, away from the rest of life into art schools, art clubs, art collections, art magazines, however, the ancient world of these Secretion places and institutions of art did not yet know. You must now that former ratio is generally a favorable mention, than what exists today with us, provided that the art by their rooting in life even more life force, life

had more jewelry so you can but the old relationship conjure not again and do not want to win by negations of the positive benefits of the previous relationship. Suppose you removed the art academies, art associations, etc., one would thus eliminate the art itself. Also it would be but too far gone, they wanted to make art the only remaining serviceable life and condemn them to a slavish CONNECTIONS, even in ancient times, it was the not the case. There is also a private joy of art. One can only say: the more the art is detached from the rest of life, the more it loses of natural supports and is in danger, so to speak, in their own interests to stagnate. Such is the art of shaping one of the highest peaks, which, combined reality or nature in the sense indicated, puts forth from itself, but it is not the highest peak. This will always remain the religion that is certainly not the art owes its origin, but now even the art gives the highest driving force and of her receiving important feedback effects.

XXXI. Fantasy view of beauty and art.

One of the most common Art Views collects the dependence of beauty and art of the imagination to the main aesthetic aspects. In meeting this view, I tie on a talk I heard earlier back once the Leipzig Art Association, held by an art connoisseur, whose significance is found in art-fold since its recognition that its board of directors is one of the most important art institutions has been give. The one held in the form of very attractive, and certainly, found very satisfying by all who incline towards the same direction at all, lecture was just a characteristic of Genelli's, where the speakers paid tribute to the unconditional, even enthusiastic admiration. This artist is a genius, have outstanding, the sensed his time truest essence of art and ausprge in his works.Because where there is the essence, the purpose of art? You have to serve an aesthetic interest, which is independent of all other interests. There is a realm of beauty, what, take an interest in a claim without regard to moral or other content, which we usually attribute value, and purpose of art is to satisfy this interest. But this satisfaction will be produced as a game won by the imagination, which have to work in the artist with the greatest possible power and wealth to be taking place again in the enjoyment of the artwork. What will played, it was irrelevant. Hereafter as the most appropriate items for the art such representation, which allow the freest, most vibrant, vigorous development of this game, but otherwise the taste for beauty must be disinterested. - This, if not all the words, but the meaning of the presentation, as far as my notations about it. In short, beauty and art are made substantially dependent on an active and receptive activity of the imagination. Who would be able now the dependence of the art and to deny at all in some sense the beauty of the imagination. For how could an artist without a creative intellectual property, what is the imagination, create and customize, so far as one does not want to be limited to slavish imitation of nature, the arts, and as the enjoyer without awakening of a job match through the artwork enjoyment of them, if you namely the

receptive game also want to mention imagination. But now something is but that alone is not good that it through a fantasy game, it was also the allerlebhafteste is generated and generates a corresponding game again, because what monstrosities the imagination can play. Rather, still wondering which the imagination to guide their creations, organize to rein in how to set to create anything just Fantastic, Loopy or downright ugly, and seems herein to me the main point to lie on the clarification and development it mattered, so by the declaration of beauty to its origin from a fantasy explanation only initiated, the most essential is to look first. Wonders if it be found in the explanations and statements of explanation, not what it lacks, - that lecture itself was not supposed to delve into it. So we go our hand a little closer to the view according to their most conventional ways of making and reasoning. The statement of beauty by reference to the imagination, represented in particular by Solger, White, W. v. Humboldt, Hettner, Kstlin and others, based, more or less great circle, commonly referred to the following aspects. The creative formative power of the mind is imagination. From this fact depends on the wealth creation from everything beautiful in art.One needs but to generalize the notion of the human imagination only, and to increase to speak of a divine imagination can, as that is a parent, all natural beauty not only inclusive, but in their totality yourself a nice whole performing in creation and design , erscheinlichen world has operated only in a higher way than the artist operates in creation and design of its erscheinlichen individual works. The right artist but has with his work only nachzuschaffen the divine creation, in the sense of carry away the same, it is that we live the spirit of the artist after the immanence view in the divine itself, weaving thinks and hereby his work with a statement divine Fort creation itself is identified, or only as an imitation of divine creation, if God had gifted to his creation with artist a spark of his own creative powers. After that, the creation of all things beautiful from the ground up to the highest peak and most embracing a work of the imagination. Is there something in so far as it may be in the mode of origin of the divine imagination or the meaning of the same continue creating beautiful human imagination. But insofar as the divine imagination and the imagination of an accomplished artist can be called into creation of beauty as a truly free and harmonious working, also the decline to the divine imagination in the definition of beauty can circumvent and therefore which do enough, this Find decline mystical, that requires the property a truly free and harmonious operation of the imagination to the creation of beauty, except that you will be limited to the natural beauty to make a receptive side of the operation of the imagination by the beauty submits to the respect of his term to capture imagination, or the natural beauty of the concepts of beauty ruled out altogether. With the method of generation of beauty through the imagination that is hanging on a no less essential for beauty, retroactivity thereof on the imagination together, provided to operate the fancy of the beauty of enjoying it accordingly in intuition, recording, appropriation of beauty freely and harmoniously has as the creator of the same in production by relying partly sunk into it freely, partly builds a free and harmonious play it.

Now, indeed, the human imagination and Disordered, yes produce ugly and ugly occupy the imagination, which is in fact brought the ugly with the beautiful under the same very general point raised for the common objects of aesthetics in both imagination but plays the essential role . A difference of beauty from ugliness, however, remains in the way of imagination activation subsist by one the ugly generating or through the ugly employed imagination rather rampant as free, discordant as harmoniously, not in the way of the divine creative activity yet accomplished artist activity operates. That much the people ugly also appears in the God-created nature, contradicts the reference setting of beauty to the meaning of the divine creative activity, if you want to go back to them in if not, than what the shortsighted people appear to be so, these character loses considered in connection of the whole and to the totality of its relations. But in this context, this totality is created by God, it is viewed by God and it is to be understood in its sense. So good to hear that everything seems to have, and I have even taken pains to present it as clearly audible as possible, but can remember following it. You can see the original relationship of beauty to concede to the imagination with or without a decrease to the divine creative activity, without thereby concede the usefulness of a definition of beauty based on what I refer to what is said in Part I, Section II. In particular, it seems awkward to go back to the Declaration of beauty to the origin of God, in whom you can go back with any explanation, however, as you can start every story with Adam, but so little is the human story clear and certain from the mythical Adam omits track, so little of the aesthetics of the human horizon at all about increasing or at least wrapped in darkness, God's idea. So many theologians, the analogy of the divine creative activity of the human imagination as resting on anthropomorphism not concede, and the creative power of God is rather something human senses and thinking about everything sublime. Contrary, neither the materialist nor Hegelian, nor Schopenhauerians allow the creation of the world and hence the beauty of nature through a conscious mind, because instead of all this nature, the idea of the will of the world is coming to consciousness only in animals and man, of to speak of an unconscious fantasy in creation of natural beauty but would be a violence which could throw together the work of blind forces with the fantasy into one, so this side of the slope, rather just exclude the natural beauty of beauty. Then be the definition of a beautiful love people no longer find beautiful. In this respect the ugly admittedly as good as can be Beautiful product and exciting means of the imagination, would be enough to have the top made remark a Both sharp distinctive statement of beauty by reference to the imagination at most so far as the difference in the way in which the imagination actuates, could be described clearly and sharply, but as little as by reference to divine creative activity, through the concepts of freedom and harmonious nature of the activity, nor can any other categories that require only one further clarify happen. In fact, according to the most common concepts of freedom (absence of external constraints), it is the imagination just as free to create ugly as beautiful, and is there when recording a work of art not free himself the impressions to withdraw the same,

and they just so free to change, as the artists they produce. Some but by the view (see, eg, Section XXII.) Is the artist even rather from the impulse of an inner compulsion out produce. Now you can indeed from some philosophical considerations also identify freedom with inner necessity, but keep the sky from the aesthetics of philosophical Spintisierung about the relationship between freedom and necessity. Anyway, does the concept of freedom. as no less be the harmony in the application to distinguish the right from the wrong activity yet clear way of the imagination. Now it is my view say nothing Untriftiges when the in creation and recording of the beautiful insofar free and harmonious calls eligible, activity of the imagination, as it is not practiced with pleasure or displeasure, and when she returned to pleasuregiving deflects products. Also explains, for example, those expressions Kstlin really casual in this sense. Thereafter, however, it seems preferable to me, the statement of beauty and the role of art immediately to the clearly expressed purpose, the desire to purchase, as these terms to hide under unclear or ambiguous words. To occasionally notice about the so often used in aesthetics and apparent explanations abuse-th term of the harmonic anything else, so one can even say briefly: Harmony is a pleasure-giving pain or at least exclusionary, money. Thus, the concept of harmony is determined clearly and without compass, then, is to what pleasure and pain, you can immediately have in us, while the mancherseits popular reverse the determination that the fundamental condition of the pleasure lies in harmonious relationships, not on to come circle, nothing else says as: the condition of pleasure lies in one, to be mentioned for brevity harmonious relations, but its nature is not determined by this expression, but is only consulted. Although it probably says: is harmonious, what or what is wrong with us. But what is wrong with us, you can see just only the fact that it eliminates pain by getting us healthy, or that it makes us positive pleasure, and for what agrees with it, although we have in the realm of logic to set clear of contradiction, but what is in the music, the painting does so. A badsounding chord, an unpleasing color collocation, an ugly face, you can call all discordant, but only if it's displeasure; the logical principle of contradiction it is not opposed. As long as the last common reason of pleasure and pain is not established with certainty and clarity, and he is not far (11 Th.I. f), one has to adhere to particulate laws according to which pleasure and pain arise and the expressions harmonious and discordant but neither replace nor contain such. If you can not merely the creative imagining of the artist but also receptive of enjoying it to the fantasy life calculated to make the concept of beauty in both directions depending on the imagination, so this case can be understood by imagination nothing Andres as the assets are, at all to indulge in a variety of PRESENTATION-tions, which, however, just as well express themselves productively, can be excited as a receptive and engaged. One may admit that a further use of language also permits such a broad view of the concept of imagination and really often confused unclear due to a work of art in the common life, employment of imagination and employment of the imagination, but it is certain that, with imagination usually and especially understood in psychological clearer distinction,

but rather a creative productive as a receptive capacity, and it seems to me anyway, that the declaration of beauty in terms of imagination should not be done without a careful examination in this respect, not the activity, the production and reception thrown together unclear hereby elicit a factual untriftige considers the effect of beauty, what danger the previous statements of this kind seem to be subject to more or less me indeed. Active course is also the receptive excited mind, but you will not be any activity, especially not the one in which the mind is set by the conception of a work of art, as one can grasp creatively productive as rather a productive activity that has taken the artist to generate, is spared the enjoyer by reacting to the receptive view. In fact, the aesthetic impression of the music lies rather in a lustful Follow the given relations, whose opinion you have to be practiced, as an operation of the production assets. When reading a poem a bound series of associations with the words from running at the same time, without the mind only has time to intercalate own creations productive, and more definitely gives the same very specific ideas and feelings, the more a greater impression it makes. Also, it may have be content with this purely receptive impressions by the Spirit is also employed continuously in time by the end of the work of art. Is the enjoyer of his imagination productively beyond what can easily be the case, yes, this is the effect of the work of art in itself insignificant, and probably more often, there is the aftermath of the artwork in going back to it as an addition to go with his own imagination. With works of visual art it behaves. but if want to employ slightly different, as they do not expire in time, but remain subject to change, but also in a certain period of change. Now also with them the associations to which their main impression is based (Th I), as the Spirit gave immediate attachment of intuition, not creative produced by him, and everywhere else the associative activity is to unfree or even mechanical side of spiritual life expected. Also the continuation of a rich enjoyment employment with such works can be obtained up to certain limits by changing that one pays attention to these and those pages or parts of the work of art and takes their effect receptively. Meanwhile here is the fact a greater opportunity than with music and poetry, which involuntarily move away us in a certain direction and take the moment captured to extend the duration of pleasure and to expand the enjoyment of the fact that after inner motives associative impression automatically soon after this up soon that side exploits and further spins out, as has been discussed in theory I, and this may nevertheless count as imaginative activity, as it is not purely receptive activity anyway because another missing expression for it, and the most creative imagination everywhere can create anything completely new. Nevertheless, it remains only a second part of the enjoyment of art, and probably at the most, it is not to the receptive as they seek pleasure rather actively dealing with criticism, with questions of authenticity, etc. to extend. What is called playfulness of imagination, is nothing to the imagination peculiar, but the urge to deal at all with varied impressions under common aspects, an engine that can make both active and receptive claims submitted and under which, in the 6th Section discussed, principle of uniform combination of the manifold occurs. If you now of course enter the definition of the imagination from the beginning it is

that not only the productive imagining the artist but also receptive Introducing the enjoyer belong to the fantasy life, as for example Kstlin (aesthetics p. 26) explicitly and others do tacitly when they explain to want to name only the pleasurable introducing free and harmonious, it is however ultimately continue to be nothing to say than that with the beauty explanation founded upon nothing further says that when that beauty on a lusty character of ideas where the producing Beautiful as enjoyer based. A direct reference to this character of beauty but is in any case the soleveling in or leading to conceptual confusion astray, be preferable detours by the terms imagination, harmony and freedom.

XXXII. The terms of grandeur.

You might be wondering if, in a two-volume work on aesthetics, which has been so much talk of beauty, would not also paid some attention to the notions of grandeur,. Thus we get the date in this regard Missed by In fact, next maintains the category of beauty to be treated the category of greatness as the most important concept of aesthetics and so to say that category as rivals in the domination of the aesthetic area considered. Burke wrote a special journal "Philosophical Enquiry into the Origin of our ideas of beauty and the sublime"; Kant divides his aesthetic investigations (in the Critique of Judgment) in an analysis of the beautiful and the sublime, and all the aesthetic profundity has a task it made, with one also the other terms as well as the ratios of both to get to the bottom. No less certainly than the views of the esthetician about the majesty of the beauty are very diverged as. Following from nothing less than complete, the same registration illuminatesGreater the diversity of views would appear if they should be followed in the details, however, I will pay attention here only on the main points and thus also the main contradictions of views. After Carrire, Herbart, Herder, Hermann, Kirchmann, Siebeck, Thiersch, Unger, Zeising is the sublime only a particular kind or modification of beauty, but the way how the sublime subordinating the beautiful, of the various authors sometimes very is conceived differently. Against this stand after Burke, Kant, Solger grandeur and beauty towards mutually exclusive, so that the Almighty never beautiful, beauty can never be raised, or that they both by being together weaken each other, again by Various different aspects of the antithesis be placed.According to White, the grandeur is both a special kind of beauty than that it is a stock concept of beauty itself, so that every beautiful object, what makes him good, sublimity is, however, according to Ruge the greatness of the victory of a moment the beauty on the other, that is, the eternal over the finite, there is. According to Burke, the impression of grandeur to the beauty based on that is called by those means of terror, pain, or risk the basic instinct of self-preservation by them in other ways of socializing awake. After Thiersch it, "that the sublime through his strength and size raises the mind of the perceiver and forces to its recording and management to expand and expand as it were." After Kirchmann fact that the sublime (sublime-beautiful) the ideal feelings of respect, however, the Beautiful (Single

Beautiful) excites lust. According to Kant, Hegel, Vischer fact that the mind, reason, will, for the final appearance of the existing impossibility aware to express the infinite perfect to be the idea of perfect justice, and hereby the power of the infinite power of its own (Kant), or the power of the idea (Hegel, Vischer) is aware of this. After Solger the fact that the infinite descends into the finite to the finite sets, however, the finite into the infinite ascending is the beautiful. After Zeising, conversely, that the sublime "the finite rises above its finitude in infinity, as it were naturalized in this higher sphere, and gives the idea of absolute perfection by its size." According to Zimmermann fact "that we imagine the infinite at the same time and not think to take and not to take assets to the latter's sake us small and insignificant to the first sake against himself appear large and infinite." According to Burke, the sublime awakened one, of real pleasure for him too distinctive pleasure or pleasant sensation by exciting the nerves by means of a massive degree of pain or terror that calls our self-preservation. According to Kant, Schiller, Lemcke the impression of sublimity is blended from pleasure and pain, for the former, which arises from a mixture of complex relationships between our imagination and our reason. After Kirchmann has the feeling of respect, which is the basis of the impression of majesty with pleasure and pain not only nothing to do, but the feeling is the same polar opposite. According to Hermann, the impression of the sublime is the whining of ridicule towards a more. According to most, there is only one majesty of quantitative, but also qualitative Kstlin to view. Kant distinguishes the sublime in a mathematically and dynamically sublime, according as it is an extensive quantity, as such extent, duration, number, or an intensive quantity, than as strength, power, strength, resistance size, which determines the impression of grandeur; - Schiller one which is beyond our comprehension, and that our life force is threatening; - Vischer in an objectively sublime, which makes its impression physischerseits without regard to the descent of spiritual power, of which the sublime of space, time and physical strength is and a subjective sublime as that of the passion, the good and bad will. - Jean Paul distinguishes in a similar manner, a majesty of nature of a moral or acting grandeur, but between what the immensity and majesty of the deity represents. The sublime nature he shares in a visually and acoustically sublime. - Zeising different modifications in the sublime as "the imposing, ie the one sublime, that is sublime for other things, the majesty, the one sublime di, that is sublime in itself, and the Glorious, ie the one sublime, that is sublime for the Absolute." Most come far but agree that they can play an important role in the concept of infinity and finitude in its relationship to the determination of grandeur. Yes Jean Paul you have a statement that the sublime is infinity applied. Without an execution and discussion of previous, often very abstruse and subtle, perceptions of grandeur, of which could cite here not much more than the keywords to take, we seek our own path, with considerations partly of compliance, partly deviation with respect to previous conceptions are found by themselves.

Examples of the sublime, from which his term can be viewed as abstracted, and followed the same can be explained, are in the realm of nature: the pure blue daytime sky, the starry night sky, thunderstorms with hochgetrmten thunder clouds and powerful lightning strikes, violent storms, the agitated sea, floods, the large ice streams, large and high waterfalls, great, high, particularly desolate mountain views, volcanic eruptions. In the realm of art: Anything that the divine greatness and power, but also what spiritual people size, sovereignty, self-sacrifice, steadfastness sensualizes poetic, oratorical, or graphic depictions of the Last Judgment; great dome, the Olympian Zeus, in the field of music, in particular: musical pieces with sustained strong tones full name as bell sounds, organ sounds. In the spiritual areas: those very spiritual variables which are used for art objects sublime representation. I try now looking back at these examples, the Community of the impression, which is brought by or it can be awakened with sufficient subjective receptivity to call, it seems to me, the feeling of grandeur based on the fact that the soul is one of the central size or strength usual impressions out kicking, unified impression learn with pleasure overweight, whose peculiar pleasure character not by the unitary character alone, but the very fact that the impression is also a strong or large as, conversely, not by the size or strength alone, but by that the impression is a single at the same time, is limited. To infinity to versteigen in the statement I leave like the idealists. The beauty, so far as one wants with respect to set it for a closer version of the sublime, tells him the unitary character, but not the out of the ordinary out passing amount or strength of the impression, but if one wants to grasp the beauty of so far that the sublime occurs even with including, in what way the definition is clear, the sublime is the special kind of beauty, in which the size of the pleasure impression of the size of the impression itself to depend, without yet alone to depend, as to the uniform character of the impression with substantially one. Meanwhile, these explanations must be over yet part of the explanation, some justification for opposing views. If Kirchmann to the impression which makes the sublime, not only is anything pleasurable, but is even opposed to the lustful polar him, and when Burke and C. Hermann depends a similar view, represented only in a different twist, the on restrictions of loss term, which will hardly give general application. I think to be quite popular to talk about when you call any impression relish that you like, and in the absence of counter-motives even looking, so you will also be able to call sublime impressions mainly relish. When asked, however, whether not yet displeasure mitspiele a role in the impressions of the sublime, I'm coming down. For a large or strong uniform impression, as he is called the character of the grandeur of us could ever arise, a demgeme cause this must be present, and the character of the enumerated reasons complies with this requirement. Often simplicity is expected to character of grandeur, but this is not to be taken strictly: a sky full of black storm clouds, a starlit night sky are not easy and can still make a very sublime, in its way even raised impression as a very blue sky, the basically is not easy, but only uniform way, but that we are accustomed to understand by this simplicity. Instead of

simplicity, uniformity is just only uniform character of the impression the essentials for grandeur. Now the Uniform assigns the Uniform taking, and can be raised by size, in that it does not get boring, but assigns to him not only under because rather also the Many and Varied can occur at a philosophical or conceptual unified point ( cf Section VI), and insofar as it is the case, it goes against not only the impression of grandeur not, but even through the height of the linking aspect of this impression give the character a greater height even by those under the single point of conceived, the spirit of sustainable diversity and employ pleasurable than it would be able to easily uniformity, and by the amount of Linked cause or increase the size of the impression itself. So can the uncountable, insofar as it can be summarized uniform, make a raised impression, which is why it is called a numerical grandeur, and undoubtedly both the night sky is by its countless stars as the Gothic Cathedral with its countless decorative rates, insofar as they have a unitary character carry only so sublime. Always, however, the uniform character remains essentially it. Of course, the stars are arranged according to a particular principle on a regular basis, but it's like the marbling (Vol. I.), but it's a single character through their way through distribution, compared to the total irregularity, which would take place if here and there cluster stars zusammenklumpten to remain between large empty spaces, large here, as little differently shaped light areas appeared. So it got rid of the character of the majesty of the night sky. Now maybe you wonder: then would not be raised if the whole were regularly adorned with stars, provided herewith would the uniform character of the distribution for pure and full descriptive validity of the sight of the sky. Also, I think it would a priori be the case, since, as is common ground because the impression of a large black velvet coat more approaches the sublime, when he regularly as if it is irregularly strewn with gold or silver stars. - But one and the same easily understood regularity all over the sky and all the nights again, would we get tired of monotony soon, however, the irregularity, which the unitary character of the distribution rather breaks as breaks, supported by the changing position of heaven against us after hour of the night and season, do not pay a monotonous impression, but as we always seem to say the sky can always find new and new in it. The stars do not seem to eject us with the drill, but of the living hand of a great sower, and a silent associative feeling hereof may help to make the seemingly irregular distribution of stars for us, as it could be regular. So you can say: the sky has been so beneficial as they get in this as for other relationships for us by given by the monotonous and only calculated to external clarity impression of grandeur some price to make us enjoy the same always new and lower border effect grant. That size or strength of an impression on themselves not yet been acquired grandeur, arises from the fact that if you think a raised object modified so that when changing its size or strength of his impression of that the uniform character is completely lost, or even becomes indistinct, the character of grandeur disappears, for what was said above, from heaven, is common. So if you think replaced by an exchange of roles, rattling and whistling the rolling thunder, or the sounds of a

sublime music offset so that melody and harmony disappear. But there are enough items that make a unified impression, without, however, appear sublime. The fact is, that wherever the lust feeling of grandeur occurs, it is just by enlarging, extending, reinforcing a unified impression on a familiar level and the same is lost by attenuation. So when a blue glass bell that we not small or aesthetically interested in slight degree, to the blue vault of heaven, the rolling of a carriage to the majestic roll of thunder, the flint that with the spark from the firebreathing mountains, the wave hitting pond weighed resounding seas, faint bell chamber ringing the bell ringing, the model of a Gothic cathedral to the enormous dome, the weak character of a person in the drama or epic for all unshakeable challenges defying strength enhanced, magnified, intensified. At all 'which we begin, in fact, only on the basis that the impression of grandeur that characterizes to find favor, as extensively barren intensive growing with the increased size or strength of the subject matter of impression. Well, who will deny that the most terrible spectacles are just only sought to have the benefit of a unified impression of the size, without one know to make another ground of appeal. Therefore regrets the tourist in Italy it bitter when he failed eruption of Mount Vesuvius, and I still remember when Dresden neighborhood was ravaged by a great flood, as some of Leipzig traveled there, just to enjoy the magnificent spectacle. When a battle near a city is hit, so you can see the towers despite the danger which threatens stray bullets, full of spectators. Respect, one recognizes the desire nature of the feeling of grandeur at all, can you think of the size or strength of an impression in a double sense to contributing, even insofar as the desire condition, which is due to be in the single character going to say so wins a multiplying factor, secondly but, so far in the event of exceptional size or strength of a receptive impression of missing counteractions moment is a pleasure in itself. The man loves and is now demanding even sometimes running strong receptive emotions as us but also from other sources like the exceptionally small. Anyway, heard from impressions of unusual intensity to the exception to appeal to us, and the person should be exposed by the continued strength of the sublime impressions, he would feel like instead continued soon exhausted, and it does not bear on the length. But it dulls the sensation from constant stays in sublime surroundings as soon as that feeling loses its strength, but is hereby lost the lust feeling of grandeur. Not everywhere is the absolute or positive value, strength, quantity of a cause, which is a raised impression, also a huge waste of it may be how to prove that it is also deep peace, deep silence, desolation, breaks, night in contrast and contrast against positive quantities can make a sublime impression which one has distinguished the dynamic sublimity into active and passive. The common objective of the two contrasting cases lies in the fact that the subjective impression if both a strong and its strength is yet aesthetically effective. In general, any change in the timing or spatial field, our sensory and associative triggered intellectual excitement, whether in a positive or negative, has the power of a positive impression, so watching the miller in the mill when the mill increased in their way, the sleeper in the sermon, when the sermon ends. A continuous silence, a

continuous monotony, a continuous Lame, a continuous pitch-dark night vermchten us not strongly stimulate, but rather silence, monotony, desolation, darkness, as distinguished from what we are used to, the more so the greater the difference of . Zeising, especially the detail on the different types and modifications of the sublime enters his aesthetic research, accompanied by illustrative examples (which deserves to be read downstream), provides the following particular examples of passive sublime together. "The holy silence in the temple in the midst of urban noise, the dead quiet break in a Allegro con brio, the most enduring of the same tone in ever changing harmony, a faithful heart at the court of Louis XIV, Fabricius against the bribery of Pyrrhus, a trust in God in the middle in the storm of suffering, Columbus under the despairing boat people, etc I myself do not know what a sublime impression would have on me as on a swing on the Gemmipass the sight of the covered with a mantle of snow, surrounded by low snow peaks, Monte Rosa in front of me and the bleakness of the whole perimeter to me with a monotonous, all variation Baren noise as ever desolate mountain areas to the most sublime objects are expected. I could remember, only with the loss against the memory of so many beautiful district inter-change by the much more powerful unified impression was also so much pleasure fuller, and were it not for the general experience in the same sense, they would not of glaciers, bristling regions of Switzerland be visited. This of course affects the positive impression of the amount by which the Lame together to establish the impression of grandeur, but the high mountains were covered, so much the impression of loveliness would grow, but the impression of grandeur, and with him at the same time, the number of Visitors decrease. Now you might think, however, if after the above examples is the utter absence of a stimulus able to make a strong impression and thus exalted, already approaching this omission would give an approximation to such an impression, that the appearance of some very small things, weak, especially as a result of neighborhood or something very Big, strong, almost flat be so exalted as the complete absence in the above examples, instead it only, not sublime, makes impression of the weak, such as a soft lisping take a break in a noisy music. But this would be to take that. If the strong cause great weakness suddenly reduced to zero but without be (to fall below the threshold), it now takes the weak things caught our attention and gives the impression corresponding to weak, whereas if the strong disappears completely, is there anything positive, what attracts our attention, therefore undisturbed makes the strong impression difference now itself felt. Incidentally, but also a cause without all fall away, fall to such a degree of weakness that our attention is not drawn to it, and then there is also the approach to the impression of complete elimination. The sublime desolation and pause is not absolutely barren and not absolutely silent. That the impression of grandeur could be caused not only by sensible objects or perceptions of such, but also presented intellectual properties, is the fluency of expressions: sublime character, lofty sentiments, sublime spirit, testified. Only it was

not for the aesthetics of standards met this limitation is to deal with purely spiritual grandeur, except where it manifests itself through sensory signs. And such indeed can often sensuous expression of strength or size, but they can also be in other characters, after which the impression of grandeur nothing less than commonly grows in proportion with sensual size or strength. The Christ Child in the arms of Raphael'schen Sistine Chapel makes a sublime impression as a giant Saint Christopher moderate on other images, a small bust of Jupiter may seem lofty, as a great Negro bust, and a Gothic cathedral appears as raised a much larger rock. Yes to a spiritual force can seem so sublime, each with small means they accomplished a great purpose, such as Jean Paul argues that the motion of Jupiter's eyebrow was raised as his arm or the whole body. Meanwhile, the fact that sensual size and strength (or large drop of it) is not necessary for the impression of grandeur, not to say that they, if present, nothing helps. First place, it does certainly indirectly, if everything sensual big and strong not only associative representations of large and powerful causes and effects leads with, but also as a picture on another Big recalls and Strong. Especially all the strong forces of nature are likely to feel the existence of the current manifestation of violence wider margin, analogous to the source of our own life force, Quelles of stimulate force association example, and if we feel ourselves in strong expression of our life activity pleasurable, carries over a feeling of pleasure in the objective view of such statement. Only I would like to explain that the feeling of grandeur in this case is based only on the associative memories of similar own power statements, since the intuition huge scenes already immediately triggers a strong activation of our life force in the territory of one mind, and the association not less memories of strong contrast impressions that we experience can be regarded as strong activities, which we express that call. So why are based on the latter side of the association alone. (Cf. Th I.) It is certain that every not quite raw human association notions of one kind or another a major role in the impression of the grandeur of play, and one can ask whether there is still talk of grandeur when all association ideas broken down by, for example, the appearance of even the eruption of Vesuvius, the idea of the immense forces that cause it, the effects of which he speaks, the depth from which he comes. Anyway, the only direct sensory impression would be greatly enriched by his lowliness and at a disadvantage against the association are increased, also the concept of sublimity merely of cases where associations not missing, abstracted. But on the other hand, I find the interaction direct and associative impression no reason the effect which manifests directly the strong, broad, uniform employment of one mind on the Spirit to withdraw from the impression of grandeur to bring only the performance of the associative employment in accounting; but think it is in this respect similar to the grandeur than with the beauty. Can as little sensual harmony alone to justify beauty in the higher sense, he nonetheless bears much to the beauty of the song with, and as little as one of grandeur of a merely sensuous size in hherm sense is able to speak, she wears but where they higher than base employment occurs significantly to the impression of grandeur. No less than the great nature scenes of grandeur active association plays its role in

the examples shown above, passive grandeur. The sensual bleakness of the glacier regions of the eye does not do it alone, but what is linked not all of, so to speak barren conceptions of it as: Here nothing grows, where nothing lives here thrives nothing here is for human bustle no place; here'd you safe from interference by the turmoil of the world, here is eternal peace, here is the effect on the world and home of a lonely spirit sublime details. These are now unquestionably the most part unpleasurable associations, and who will deny that we made certain aspects such Lame really dislike; yes it would displease us most when we knew that we live in this wasteland, in which not allowed to live, but should. Since this claim is our imagination away, so here's to win the pleasure of the tremendous impression which makes the break in the flourishing life, easily the temporary overweight, an overweight, which it did not occur necessary because the taste for such districts, so to speak only a product of the modern romance is. (Cf. Th I.) The question anlangend according to the pleasure or displeasure character of the impression of majesty, so keep it bemerktermaen Many of the impressions of grandeur essential that pleasure and pain mix it, or desire as a kind of reaction against pain come into existence, mainly due to its that the horror may seem sublime, so sublime, the terrible it is. Burke, Lemcke, Kant even consider themselves as essential to the awfulness of the sublime character at all, or at least the dynamic sublime, and fear falls on the side of the pain. I do not mean yet, that's right. In fact, you see the state of him who is watching a indignant seas or volcanic eruption safe and unconcerned with the state of the one who trembles for his own or others close to him standing life or property, or goes up in compassion for others, and you will tell yourself that only that feels pretty pure impression of grandeur, this same lacks the more so the more he trembles, which does not prevent that he sometimes forgets the danger and then but also enjoys the grandeur of the spectacle, but if it the danger to must forget the fear can be a ingredient that sensation. So the pain of fear but rather appears as a disturbing, because as an essential element of the impression of majesty. Of course, the feeling of grandeur increases with terrible objects with the awfulness, because the pleasure moment, the power of impression increases with it, but only in accordance with, as it exceeds the displeasure moment of fear, or alternately that occurs as admiration, the impression of grandeur to the can Validity come. Also not missing the nature and art of examples in which the force required to sublimity size or strength of the impression regardless of horror comes to pass, and you only ever enter wearing an ambush of pain a theory about love, but with all the well of a unprejudiced gaze can not find it. The rising of the sun in the morning or the full moon evening on the horizon, a starlit night sky, the above clouds stretched rainbow, a gently moving blue sea with many ships, a Gothic cathedral, grant such examples, the soul expands with pure lust, and rises above the pettiness and dismemberment of the ordinary impressions. Yes, the fixed cost us the Gothic cathedral and to represent the grip of eternal laws in its maintenance seems, in which our own maintenance is understood, the more exalted he will even appear to us: let the fear come, he would collapse on our heads, and the feeling of grandeur will fall

with it. Burke has the phrase, "the terror is in all cases without exception, sometimes visible, sometimes hidden, the ruling Prinzipium the sublime"; perform and he is looking for this sentence in an accumulation of examples. But basically, since it follows that just only together, which is consistent with the proposition; examples of the character of the above have to put up with himself, as such, where the horror hidden way I'm considered to be interpreted, and indeed is an interpretation that something was hidden there, which is not a sign of it as possible in each case, only one can rely on no tenable theory. But it can at all that, dependent on the unitary nature and quantity of the impression, find pleasure feeling of grandeur by the special nature of the impression just both support as a counter-effect, also can subjective conditions on many kinds counterproductive occur, and the grandeur of terrible objects granted itself only one among many examples of this explanation. When a temple grows in size, so all grow, our feeling of pleasure determined in a positive sense, properties thereof with, so he receives such to greater parts only by its size, and so the desire impression of the size thereby increases or is itself only by the threshold raised, however when a terrible object grows awfulness, so grows with the aesthetic advantage of the size of the indentation at the same time the aesthetic disadvantage of fear with, and can be grown from that benefit or the same overgrown for circumstances under which the impression of grandeur terrible objects above comments yet come into existence in accordance with, yes grow with the awfulness or can also be suppressed. If we imagine now but magnified about a flea or a louse up to the tower size, so one no longer speaks in spite of the growing strength of the impression of a raised, but horrible or hideous object, by the reluctance of disgust at these animals with their size any case much stronger than the desire to grow their size impression. Although we must admit such a desire even here yet. Because if someone can show such a giant animal of this kind, it would not be missing him on visitors who like once, but of course would only see it once. Also a cupid but executed in immense dimensions, would not we raised, but appear uncouth, because the aesthetically beneficial associations of flowering tender youth and the child's relationship to the goddess of beauty, which make the idea of Cupid pleasing, would suffer without that the advantage of the growing size would be able to compensate for this disadvantage, the opposite with the statue of Jupiter. Music from a rich, full, long sustained tones you will find sublime, when it comes to the impression of strength and wealth of tones to help with harmonious relationships, and horrible place sublime, when it moves in miklingenden chords. A dance music on the organ as the colossal Cupid rather uncouth as sublime. The sense of the grandeur of mountain areas is itself, especially the uneducated classes of the same to find the mountaineers, the least hot. How much nicer it is, they say, to be able to look far in a plane, and how much more beautiful is the fertility level than what the mountains offer. V. Saussure tells of a farmer savoischen, called the all lovers of ice mountains fools. Makes you wonder what this depends, as you

say, some of the already noticed circumstance that the impression of grandeur as any aesthetic impression is subject to the influence of the blunting through repetition and duration, and partly the fact that the mountain dwellers, the hardships and the low income nature the sight of the size and height, which depend these disadvantages, disgust, and finally the fact that the lower classes know to associate a little higher at the sight. Against this, the native in a plane tourist, the same area visited, rather than work through the full impression of contrast, and in the area, he traveled through it with comfort or makes efforts just only to a raised impression to enjoy, and of youth in sotrained to say it, the things abzuempfinden their higher relations. These are all conditions that come his receptivity for the sublime taste of mountain areas stead. In children, raw Nations and the proletariat, the educated one will ever notice the little impression of the majesty of nature, because their spiritual view the sensuous not far surpasses and exceeds. We were inspired by it on the nature and direction of education. The ancient Greeks and Romans were not exactly as we make the impression of a unified creative power to the contemplation of nature, and so they were missing a moment, which can help us with the impression of the grandeur of large natural scenes. The concept of the sublime has different contrasts. From some points of view it is contrary to the horrible or Nasty, the pettiness of others, nor others from the Cute, still others from the ridiculous. The possibility of such different contrasts explained by the fact that the concept of the sublime once the size, then the pleasurable, thirdly enters the uniform character of the impression. But each of these moments can change together in determining the contrast for themselves or with the other. The horrible and Nasty has the size of the indentation in common with the sublime, but it is a pain full size, and the pain predominates, while the fearful desire may still prevail, which is why it is against the sublime in no pure counter-salts, but even raised his can. The lowly, petty, stands by two moments at the same time the Blessed contrary, it creates discomfort in that it makes in size, power, performance, a smaller impression rises less on average than we require to our satisfaction; against this, the Cute the moment of pleasure impression in common with the sublime, but rather it is a passing out of the ordinary smallness of the extensive impression which conveys the impression adds to the pleasure or pleasurable. One finds the Cute explained briefly as the beauty in the small, but even such a small painted Madonna, ever so small model of a temple are not cute by the reduction, but rather the smallness itself must contribute to the pleasure effect to generate Cute what can be done partly by the allure of the unfamiliar, some beneficial associations as ease the load and movement, material frugality, and the like. The model of a beautiful temple is not cute, but just a scaled Beautiful, because we are accustomed to see scale models, but liliputanischer temple with real a and outgoing little figures would appear to us cute, for something we have not seen yet . Now of course we can also use a little lady, we deal with every day, call continues gehends cute, but only if the comparison with the usual women's size is always tacitly present.

This is not to deny that pleasing proportions of a small object like the imprints of the same not only can help, but most of that will belong to supplement. Although the ridiculous character shares the pleasure of the sublime, but while in the latter, this character is largely dependent on uniform size, it hangs (after 17 Sec) at the ridiculous to a strong difference or self-contradictory nature of the Linked uniform.

XXIII. About the size of works of art, especially paintings, from an aesthetic point of view.
At each work of art can be a way to say different external and internal size. The exterior is easily measured externally, the inner thereof by the scope, amount and scope of the ideas and feelings that are set by the content of the artwork into the game, as determined to look at, and for all the living action, we want to mention the importance of the content or meaning of excellence, we have at least an approximate inner scale. Everyone will admit that on average, - and to average it should be here mainly - the importance of the content of religious images is greater than that of secular historical images, and again the importance of secular historical images larger than that of genre pictures. Also it is easy to make differences of meaning between different images within each of these classes, however, can often remain in doubt about the ranking, but we hold ourselves to cases where we are not in doubt. In general, now demands the sense of style, the outer size of a work of art adapt the inner, hence the colossal works of art that have a sublime meaning, against the genrelike representations of a few square Fussen. Many, especially outside, motives can certainly cause exceptions, but just have special motives except be there and it will be asking in each case according to these motives, otherwise the rule has to enter, and, on average, on the whole, it remains valid. By adapting the size of the inner voice of course it can not proportional, but maintaining the same ranking to be understood. Because of the limits of the external size and small size of which can not be exceeded due to external conditions of works of art, the outer size changes more slowly than the inner or meaning. A religious image, which presents the latest court has unspeakably more important than a genre picture, which is a gift-giving scene, but it is not therefore unspeakably greater, it is only to be at all much larger or deserves it. What we, the internal size or significance of a work of art sake of brevity name only in the sense explained above, not even coincides with the qualitative values, or artistic importance of the same, which is why value and external size does not require much. A very small and rightly held small image may still be a gem. A genre picture can speak to us through hospitality, peaceful contentment highly suggest an interesting idea's of limited scope, in addition to the characteristics and technical execution to be completed, and obtain by a combination of such benefits a great value, a great artistic importance, but the entitlement to outer size wins it 'not the because it comes with all' with all still does not bear the character of the internal size or importance in the above sense.

We set, for example, the Huss before the funeral pyre of Lessing and the golden wedding of Knaus against each other. No one will doubt that the former has a far more significant image content than the latter. That is a disaster represents, to which the idea of the Reformation ties with all its reasons and consequences, this a festive climax to a limited life. But whether that has more artistic value than this, it is you either fight, or can be expressed as meaning that the advantages of both images preclude a quantitative comparison because of their heterogeneity. Nonetheless, you will find the huge size of the first image to the size of its contents entirely appropriate, indeed can get that begin with representation on a reduced scale to approach the impression of a genre painting, while the golden wedding, performed in the scale of Hussbildes, would seem to us to lose some of the idyllic character, which contributes so much to the charms of the image. The reason our style rule is likely to be a duplicate. Once occurs because of the drastic change definiteness of all moments of the mind, the outer size directly as the determining factor for the impression to the inward, and increases it by. Is now to make the work of art in its content a raised above the ordinary impression, so the same excess by the ordinary outer size is supported by this principle. Should it make any, but other aspects of sex - and different moments in this regard, we have thought up - so to us the meaning of its contents by the unusual outer size is inappropriate exaggerated. We notice this, that the art of an external stylistic aid, to bring the level of inner meaning of an object to the appropriate application, much more than nature needs, because they do not like these give to all the precedents, the whole area and the whole life of the object can tell us what this meaning. The outer size occurs so as to say as a symbolic substitute for it, and not afraid even going to grossly violate the truth of nature by portraying the characters and other components of their works soon far beyond soon far below their natural dimensions. "" There are, once said F. Kugler 1) , items such great, high tragic content that they can express the full force and majesty of its existence only in an equally grand scale. " He says it by making the much more powerful impression Kaulbach Hunnenschlacht, running in the Great Gallery of the Count Raczynski, which compares, which made the former small cartoon of the same image. In models of raised structures can even go quite noticeably lost the impression of grandeur.
1) Kugler

Museum. 5 Jahrg no 40

But at last reason inner outer joins. Images of significant content we treat a room and can enjoy the same such that we should not treat yourself as still images of insignificant content just treat yourself. Every work of art has to fight for his space with other works of art and other objects at all or rather tolerated. It takes little importance in its contents a large space claimed, creeps us immediately feel the inadequacy of this claim, we find the meaning of the contents exaggerated by its circumference. A cattle piece, a gift-giving scene shall not take a whole wall because the preoccupation with what it imagines, takes no great significance in our

lives. Images of significant content, religious or historical widely, are really only for temples, warehouses, public buildings, short large spaces determined images of insignificant content in which scenes of a limited life and represented by a limited interest, for private homes, as they have the space on the walls with some other images of the same limited, just different-looking, interested to share some with domestic objects of various kinds. But it belongs to the propriety of an image as a people, to make any major external claims, as he deserves for his relationships with others, and one can of a picture of a much more real than people say it ought not to be too wide. That the size of a work of art the size to be used for its production means growing, helps to reinforce this regard, I want to briefly mention the Schicklichkeitsrcksicht. While we are at all accustomed to, used to see only on presentation of important objects large space and large center that grow with the space in relationship, we will also feel if it were such, involuntarily at a whopping art object, and can increase its nonconformity or his opposition to the real meaning of the material arouse our favor or disfavor. Let's look more closely, however, not all images are of significant content really the same seemingly reasonable size. As long as we consider such an image directly, we are bound by the sensuous appearances, and a durable memory is close to exactly reproduce the impression of it, but if the memory is not faithful in this regard, they will be inclined to the small business Content of significant increases imagine. More than once I have this name, probably border of the not square, hear mention face of Ezekiel by Raphael, and more recently I was in a meeting of the images of the Kassel Gallery 2) a small picture by Rubens, an escape to Egypt in great art view representing, said: "This panel of almost 1 feet square, as it grows before our eyes to the mural, so powerful and full of majesty are the characters." Here, the magnifying influence of content is even predicated of the direct perception.
2) time

in Berlin. In 1866. no 234 (Jewish War).

I myself used to know Raphael Vatican creation story of only one copper engravings, and was by the sublime idea I had formed me hereafter it, quite surprised when I came to Rome for to see small pictures on the ceiling of the loggia;'m also convinced that this disadvantage of the outer size contributes very significantly to the most general underestimation of Raphael'schen Michelangelo'sche against the creation story. Even the so-called votive picture of the elder Holbein Schwartzs'che I imagined on the basis of a photograph of his great composition than-life figures before, and later found to my surprise an image in genreartigem formats. Now indisputably proves the existence of those that shall come again to the small images presented here, the loss of size in the imagination as to say that they deserved to be actually greater.

In general, however, you will find it understandable that is missing easily and more often in the production of works of art to be too small to Large. In fact, we have countless representations of the sublime objects in miniature, and where the representation of the original is great, but they are the small engraving again, while colossal representations genre incorrect allegations unlikely to occur. Also, we are of relatively small to present the most interesting objects, though they can not give the full impression of the larger display, at least not hurt, however, we would however hurt by the colossal of a genre-like representation. The error is small for the fact excused by growing with the smallness outer edge and more or less tempered, increased the error to the Great by growing with the size disadvantage. With increasing smallness of the ease and cheapness, the production and reproduction and the smallness of the room entitlement increases with increasing size, the opposite takes place. As of now this external reason at all items of significant content more often small, as are those of insignificant shown great content, so you get used to easily, that inadequacy, but to endure it and to correct the idea. But at least it remains true that a work of art that deserves its content to be large, in reduced form substantially loses the impression of grandeur that would make is magnified, and the full development of the most favorable impression, is able to make it at all , reached only by a reasonable size. Somewhere casually found the sentence pronounced, a genre picture must not contain more than 4 square feet area 3) . In a conversation about it plowed Someone here turned against the much larger Murillo'schen a beggar boys pictures. What someone else said, yes, even beggar-boys are of historic character. But apparently he made the character size, take what historical images else in claim here back to the character of the historical, because I do not know why else would call historically those images more than so many other old genre pictures of smaller formats, and although the brownish tone of the same character that was found appropriate in the conversation, so you should but hardly the character of the Historical up those appearances at all. Now, however, asks why you will find the life-size figures not just too big for one would find in many other genre pictures. A third sought to answer this question this way.
3) At

the conclusion of this section follow precise rules. which can be substituted

therefor. Should we not therefore merely tolerate the size of Murillo'schen beggar boys pictures because we are accustomed to find it always been there? Old Masters sees Much of what later would not see, and the habituation makes us appear to be quite easy, which in itself has no authority. Had a recent master the same lousy beggar boys painted in such size as Murillo, one would have perhaps blamed as a gross lack of feeling for the adequacy and propriety of what is now quite place with him in the order, and what you are looking for deeper reasons . Possible that this view is right hits, but the reason could be something else or at least have another reason to share that ever caused a conflict. The Murillo'schen images with the beggar boys take in life-size the boy not yet a

large space, because there are just boys and the boys in a picture are just a few or more. Even in this moderate size but we want to see installed only in a gallery these images where the place they are allowed to take, in no equally important function of the meaning of its contents is, as if they should find a place on the walls of a private home. Who would have ever beggar boy scenes in such expansion in mind there. At the same time, the following consideration argues, which is indeed commonly outweighed by the Schicklichkeitsrcksicht, but there where these such paintings at Gallerie, not too asserts, and can probably win once the excess weight. In genre pictures, it is apt to target mainly characteristic, and the main impression depends largely on it. So it is, all else equal set for this impression on his most advantageous when with all other elements of reality, the size of the objects precisely. A beggar boy of half size in the image will appear to us to say so only half as the real beggar boy as which he appears to us in full size and will demand that we translate it in imagination only in the actual size, of which the immediacy of impression after all, something suffers. Hence comes the size of the beggar boys pictures so far stead, as without allowing too strong contradiction with the Schicklichkeitsrcksicht to give the boys in their natural size, however, we would find it intolerable if men should overdrive them one track on the voraussetzliche natural size, as Here the impression of artificiality with which the impropriety in the same direction together touch them. So instead of declaring the size of Murillo'schen beggar boys images by their historical character, I want it rather explained by just the opposite point of the fact that the natural right of the genre-like character, the objects taken from life in the greatest possible truth of nature present here the preponderance of validity has come as a breed of propriety limited to those in the claim rule and predominates. Namely, a tendency to natural size of the figures since held, where it is less the way their interaction as the characteristic representation of the characters themselves, what interests us, as is the case in fact generally Murillo'schen in those pictures. Wherever benefits come in varying relationships with each other in conflict, maintains in certain cases a benefit noticeably completely back the other, so it is also allowed to give pictures that say so are looking to exhaust the advantage of natural truth, and by completing in which they achieve this, beat the otherwise applicable Schicklichkeitsansprche. After all, those images as standing at one extreme, as all extremes are allowed to form only exceptions. The previous point explains another apparent anomaly. If one compares the average size of the still life, including flowers and fruit pieces with the average size of genre pictures, we find the former not only not less, but even something bigger, how to get from the, last, the appendix sections in table can convince III given the average dimensions of the height and width of images from different classes, however, you will not be in doubt that genre paintings have an important content, as a style of life. But the demand for a true natural reproduction occurs in the size of the objects of the still life with yet other weights than those of genre pictures. A bunch of grapes, a peach, a slaughtered rabbit represented a wine cup in half natural size, would easily

make us in the image of a similar impression of the dwarfish or Verbutteten, as in nature. The allure of such depictions depends very much rather the fact that to show itself only in a graceful arrangement and in nicer copies than the reality he cultivated so to speak, the nature, bringing into view, and there is even a point of idealization in the even if not unnatural size, but represent flowers and fruits in unusually large specimens. Now, however, the images must also - if we want to have any such representations - get the size that is needed to accommodate a abundant natural size and also to a certain duplication of the articles, because they are interested only in consideration of a certain variety and composition; and thus they are forced up the average genre paintings in which the interest in the intellectual content of the scene and character of the people can be satisfied independently of the natural size representation. Portraits to make known either exactly or in natural size considerably under the same, only with a monumental representation often colossal, not like any case of an approximate size of nature. Common ground now makes in portraits interest in a faithful reproduction of the natural size of certain side also argues with larger weights than with the objects of the still life, and we want the people in the portrait have as breathe and live, so the natural size occurs everywhere as normal size on for portraits, from the other side but in relation to the character and expression of the trains, the absolute size of such an insignificant moment that we, slightly sacrificing the ability to keep faithfully to see those, and therefore have no hesitation, portraits smaller scale, even in miniature, to show you where external reasons playback in the right size the contrary; while, when in still life the same victim should be brought, would not retain enough more interest in the whole presentation left to those at all to want more. That in monumental representation can serve an increase in the natural dimensions, to say the importance of a man so sensual stamp out, no need for execution. But that one is a portrait rather much smaller than approximated to the natural size, is because that the approximate size might be confused with the real size. The scale of importance, but it is even difficult, here comparable, with landscapes from the outset, of course, the need to dispense with the presentation of their natural size, and you should stop here the scale of the inner meaning also the purest applicable to the determination of the external size create, by the way as the scenic impression comes to pass, little is comparable with the other works of art. At least you can it for the first sight find striking that (according to the results of the Annexsection), the landscape is on average slightly larger than the genre picture, because you can not help but to keep the interest in the human for significant than the external nature. But again there is a conflict here. The landscape needs generally speaking a large spread of items to ever make an impression, a genre picture can be drawn more to the average short. These are examples of how the rule to adjust the relative size of the images of their relative importance, suffer through some external and internal causes exceptions may, however, it remains always in so far as reasons for such exceptions do not exist.

Some classes of images are rather inclined to the height, others to stretch more on the width, some vary within wide limits to their mean values, some in closer, followed probably could make more observations, which I will not go yet wants, provided they are related only loosely to the aesthetic interest, however you can find a pad to the Mabestimmungen the Gallery paintings, which are in the past, the appendix sections, informed, from which, however, I here want to anticipate a few results. Common ground that we can talk in the sense that deviations from it as an error in any pictures class of one particular normal height and width of the images would be regarded as contrary to Intresting and changing conditions of content and external circumstances different and varying sizes of the other direction as a challenge. However, but can be from a normal height and width of the images given classes as talk of genre, landscape, still life, (which I have preferably studied), in the following sense. Provided that I pictures, the height h, whose width is greater than the width b, and images larger than the height, when two sections of each class will be found to differ, the former are of h> b, the latter with b > are designated h . To be discussed in the Annex section investigations have led to the conclusion that there is a (not with the arithmetic mean or ratio means compromised) specific height and width are for images of a given class and division of the one to say so all the more afraid to depart, in ever larger proportions to the deviation should be done shortly and indeed, in relation to which the deviations are so less frequently, the bigger they are in relation to it, so that even a calculation is possible, as with the removal of Frequency of copies decreases. In the Annex treatise I made this for the determination of the entire distribution of copies by number and measure key value, say heart point of distribution, commonly referred to as densely ratio value with D ', here he likes the height direction with H, for the width direction are referred to as B. Below is a small table of provisions as to genre and landscape. Furthermore, it has been found out that the number of copies, which is the smaller, short-Down to deviate from this understanding of normal values of height or width is not equal to the number of those who differ from larger, shortly after the top of it, even at Genre and landscape outweighs the number of the latter in a very strong relationship to the former, while a weaker overweight in inverse sense takes place at still life. (In Table X of the Annex-section both numbers are as d , and d is specified. ') we call now the upper and lower level up to which respectively half of the lower and upper deviations ranging from the normal core boundaries, by intervening to concerned as part of the degree take core 4) , we can say that the benchmarks are so displays exceptional, the further they fall out of the bottom and top of the core boundaries, and thus the determination of these limits has some interest. Do the same for the bottom and top respectively of height h , h ', of width b , b 'hot.
4) In

another sense, one might center with its limits thereby determine that the entire extent of the bottom as one of the top sections in an ordered distribution of the panel dimensions . Here, the different probability of the deviations would not be considered from the normal value of above and below, but you

should still prefer this provision means the core considering their ease of manufacture, it would almost given by the, in Table II of the Appendix section distribution panels (under consideration that is because metric measure used) can be done more specifically, through a calculation according to the rules discussed under that section 6 no. Meanwhile, I think the above definition for rational manner, while recognizing that it includes something arbitrary everywhere.

The following now arising from the Annex-sections, but reduced here, metric dimensions on Prussian foot measure, provisions of the relevant values for genre and landscape, both for h> b and b> h, especially when the indiscriminate combination of the images of both departments . Of course you can these values because they do not exactly look of one, albeit large, but finite, number of copies are derived as absolute, but I think its not for uncertainty considerably. The number of copies of the derivation of done is given in the table above by m.There of course are only gallery images drawn for determination, and so the values could change something, even if images in private ownership could be drawn, but is hardly assume just with genre and landscape that the change would thereby be very considerably. Genre h> b m H h, h' B b, b' b> h 775 1,202 0,911 1,901 0,992 0,738 1,537 Combin. 702 1,389 1,015 2,253 1,737 1,267 2,902 h> b 1477 1,290 0,961 3,063 1,397 0,958 2,348 b> h 287 1,890 1,347 3,038 1,330 1,029 2,300 Landscape Combin. 1794 1,571 1,076 2,457 2,271 1,539 3,534 2081 1,664 1,148 2,597 2,102 1,436 3,351

So is understood, for example, the normal height value in the sense indicated, in a genre picture, whose height is greater than the width, equal to 1.202 preuss. Foot, the entire half of the height measurements in compliance with 0.911 to 1.901 feet, and the height is so displays exceptional, the more the former measure in smallness, the latter is exceeded in size. After this you will easily be able to interpret the other terms and figures. To obtain the corresponding values for the surface area of the images hb that each dimension b are given this height and width, you can proceed by multiplying the given values in the table for the two dimensions together, at least has a direct determine the values for the surface area, which I made in genre been so close with this rule matching results that can be considered as random differences well. Thus,

the normal value of hb found directly Genre h> b = 1.182 Qu.-F., and the two core Qu.-F. limits 0.688 and 2.916, with b> h the other hand, the first value of 2.279, the latter limits 1.229 and 6.195. After this, one genre at h> b with pictures already over 2.9 Qu in genre b> h only with those over 6.2 Qu.-F. exceptional start to fall. One can now ask: how precisely the values indicated H, B are to occur in the sense indicated above all others as normal values. My simple answer is: I do not know, only the experience proves that they are. Quite generally, but can say the following: the manifold and changing considerations which determine the dimensions of a painting of certain class and department, but must meet with a large number of copies of certain height and width dimensions more favorably than for others, and you will even be able to speak from a height and width dimension for which they meet the most favorable, less favorable, but according to the deviation of it, so that the frequency of copies can normalize at all according to their conditions of this deviation values. What is this value for each class and division, a priori can not be determined, nor how the grain boundary behavior on both sides, one has but the provisions for both (or equivalent provisions) taken from the experience, then left on, however, due to general Random Acts (by means of an extension of the law Gauss'ischen random variation) specify the law according to which the rarity of the specimens increases with the relative size of the deviation from the normal values, about which no Annex 6 of the treatise contains more.

XXXIV. On the question of colored (polychrome) sculpture and architecture.

l sculpture . The question of the colored, painted, polychrome statues, ie the question of the admissibility of such, or the reasons for their rejection, although in itself of very spezialer nature, but by gaining a more general aesthetic interest that one of the most striking deviations of the Arts Nature of concerns, and encourages the general consideration of the motives of such deviations. From inception, should be thought of painting the statues would be considered selfevident rule; nowhere but you can see marble or plaster white people, how could the artists come to mimic such? Originally they were not sure, because the image formed by human gods raw Nations are probably painted everywhere, and even now no one wants to give a child an unpainted doll still enjoy this in such a. Anyway, heard a kind of division of labor, the part of the art to deduct the color of the shape, those throw on the screen to inform them make colors naked, no less disputed some getting used to have it dropped by the art and demand finally. The advanced art of time but is now on this division, and the present is imperiously taste this requirement. To forget that there is color, you go into a cabinet of antiquities or a plaster collection, and to learn the reasons for the banishment of the color of the shape, suggest you our aesthetic textbooks or the various special treatises, which are especially dedicated to this subject, to and you will find so many reasons and many that even their weight could be suspected by their quantity.

Basically, however, the prohibition to give shape to their natural color appears only when the Parallel same time and complement the prohibition to give the painting to the full light of the relief. Art should not meddle in the other the craft, nor forget that in order to be art, it does not have to imitate nature completely. Let everyone do each only from one side to itself to provide the nature of this site, not to distract the attention, not the imagination to which it is entitled Power to reduce, not by too much, they are from a certain side, but let miss missing life more so and thereby create the impression uncanny rigidity. With fewer words, I can not summarize here and there reasons put forward the prevailing view well; incoming shall return to it below. Now that so to speak, by acclamation of the votes and aesthetic reasons against the admissibility of painted statues, at least true to nature painted, has decided it may be annoying, in fact, a word in favor of the same car. But I will try to show below that for all the reasons offered so far, however, the question still remains quite open, and is only through experience can decide which adequately not yet available. For my part, I confess that I, without being able to anticipate even the future with a certain decision, but am inclined to following consideration of impacting reasons and facts more to believe that the question will one day rule in favor of painted as the expense of an art statues , namely, to do the bold statement from the outset in full certainty in favor of a nature preserve essentially painting the statues. And in order to anticipate also be referred to the evidence on which is based this assumption in a few words, the previous counter-arguments against the painting of the statues seem to me ever taken more of the condition of their inadmissibility, as they proved that inadmissibility, the emergence of that requirement but explained by reasons that are the essence of the matter externally, probably can find. In fact, it seems to me not only to accept possible but probable that for now only the lack sufficiently accomplished performances in such art with the art of getting used to white statues and lack of habituation cooperating to the color, to borrow the aesthetic drawbacks of the latter, but also for that it has not yet been brought to our art services whose effect could be relevant to (the evil in our question, can find external reasons. Anyway, the following is likely to be of use in so far as it stimulates a new consideration of the question of the language to be brought here to the point, the same need for certainty.Before the question of specialy true nature painting but the question of the painting ever will, to the extent it has been traded to those to be considered. From the front it has now in. prepares some embarrassment, made only after the ban farbenbaren painted statues of the ancient statues and thereafter of the medieval taste painted statues broken the rod is the longer the have to have to convince certain that the ancient statues originally not have been color bar, but the colors are because only dwindled gradually, ie, that the painting of the statues is not merely a matter of the child's state of the art, but for the most educated nation whose sculptural works we regard as exemplary for all time, in force was. Why not more time with us, so why fighting back with us theory, practice, and the more educated taste in art, the more educated he is, equally it?

Now it has sought to address in various ways the ancient polychrome over. Part one has been inclined not to challenge the pattern validity of ancient taste, to ease the severity of the ban something, and yet concede the painting of statues so far and in the same sense as admissible, as they now take up of antique statues in good time found, but no further, Everything but yes seems it not to have been painted, - but partly also to rather save their own taste, to say, were the ancients in most relationships of taste exemplary teacher of ours, so we are however, in some passed beyond it and discard properly the whole painting of statues, they might have had traditional motifs with them, which does not exist for us or may not be authoritative. Or, as the studies of the polychrome decoration of statues such as architecture are not yet completed at the Allen, one wonders being only about the colorful taste of the ancients, as far as some of it is known, makes him but undecided, and moves an final judgment until more detailed studies about it. After all, however, we find no reason to imitate the ancients in painting the statues, and so it remains, as in the main theoretical, as well as factually and practically discarded among us. For guidance on the facts of ancient polychrome statues of it may be useful for our further discussion following passages from a treatise of 0 Jahn 1) , one of the most thorough expert in these things, to preface that with special reference to one in the year 1863 in the so-called Villa of the Caesars in Rome discovered, polychrome marble statue of Augustus is drawn up. 2)
1) Grenzboten 2) A summary

in 1868. No. 3 Pp. 81 ff

of the locations, which are available on polychrome statues and architecture in ancient writers, can be found in: "Kugler, the polychromy of Greek architecture and sculpture and their limitations," and from this museum in Kugler 1835. no 9 and 10

"What the statue makes at first sight strange, it is the consistent application of clearly preserved everywhere color. Makes them a particularly instructive example of polychrome sculpture, and if it also to be stated the fact needs no more evidence, a very welcome. If one has made the medieval sculpture over their variegation to the argument of their barbarism, it must now be considered settled that she's been the rule for Greek art at all times., the effects of air and more of the earth on the surface of the marble are particularly pernicious color, so that this individual usually completely or down to traces have disappeared. And even if the like are clearly visible even when digging, they usually soon lose out in the fresh air. Etruscan Who in a newly opened grave chamber occurs, is surprised by the colorful colors decoration, in which adorn the reliefs of the sarcophagi, and after some years in the museums usually only isolated traces perceive .... Very often leaves the applied to the stone color, even after she is gone , a peculiarly modified surface, which produces the undoubted evidence of former coloring for view and feeling. " ... "The tunic of Augustus is karmoisinrot, the jacket purple, the fringes of the harness

yellow, to the naked body parts are no color traces to notice, except for the name of the pupil by a yellow color, and the hair does not show any color are with special care. but the relief decoration of the harness, the base of which remained colorless, colored. " "Above all, they confirmed (the statue), which could be seen from matching traditions elsewhere that it was not apart when applying the color out by carrying out a imitation of the real colors to enhance the illusion that the peculiar effects of the actual painting with to set where the sculpture competition, but by the color to increase the characteristic effects of plastic Painting is not shaded, therefore, as the sculpture brings through their forms this effect, pure colors in a limited selection here is red in various shades. used blue and yellow -. are placed next to each other, and apparently was the eye soothing harmonious effect of such distributed with a certain symmetric variety colors, the main focus of this technique also but should the stimulus, which practiced the distinguished by color parts, even to facilitate and accurate view lead; important details were highlighted strong, artistic features of the arrangement referred to the eye as it were directed to outline and overview ..... How far the limits were put in this sense, the standards were followed in detail here, has not can not be determined. One sees well that has been particularly concerned with color, which is considered a more outward accessories, garments and Beschuhung, to the clothes again facing and hems, arms and rods. too, by the human body, there are certain parts, . and beard hair, eyes and lips that are regularly highlighted by color In this mode of treatment may well have having acted on the old traditional tradition that is not cleared after the manner of Greek artistic development, but has been transformed and refined, that it was pervasive goes out related concordant phenomena forth. too plastic in the metal emerges in the polychromy. " This is how well may now exclude what Jahn puts forward as motivation of ancient polychromy of the statues - and similar to other comment about it - I admit it, the facts straight in the eye sight, to me, have no idea, like a statue, at which hair , lips, eyes, clothes, weapons etc painted the bare flesh parts but were left unpainted, is able to make a somehow tolerable impression and has managed to make each - just think: a marble-white face with painted lips and eyes; also as is to rhyme that otherwise regarded as universally valid rule, the minor things not emphasized before the main things have been turned upside down naked in front of the main parts of the body, is almost here, dresses, skirts, hair. Now would probably ask if the old one went so far in painting of statues, as is conceded, without clear how far anyway, if they have not gone up to the full painting and the colors to paint the nude only the lightest were verlschlichen. In fact, some inclined to believe - whether for positive signs I do not know - that the ancients in the flesh gave a certain shade of color, but only to the bright white of the marble tint benevolent, but not the natural color of flesh imitate. Short one gives to the painting as far as you do not think you can deny, and defend only steadfast and finally against the fact that it was to imitate nature to do it 3) , which of course asks, what then. What Jahn says about it, does not apply in any case, the main difficulty, for once was the robe with hair, eyes, mouth held colored, so by any other principle than the natural colored flesh was able to only give either a

disgusting color frames set or a combination of colors, as they probably befits a carpet, but not for a picture of the living, but seems Jahn (as Semper) the principle of such color art piece to have held as the main principle in mind.
3) So

including Semper (in style I. 518), which assumes that the bare parts of the marble statues have been covered by the Greeks with a general color tone to it with the colors of ACCESSORIES YOU and especially colored, naked parts "in accordance "to bring, without having a" I assume naturalistic aping "of the Greeks.

Have now but the Greeks polychrome how to make them one way or the attributes, like what we have to believe, finally, if the factual investigation can teach definitive evidence, it could in my opinion only by virtue of being one somehow mediated Art habituation, where they we imitate in fact should have no cause and, although perhaps understood by the reasonably as they emerge from the rudest beginnings of religious art and continues to receive up to certain limits, by tradition, but as soon as they are also the times of gelutertsten taste could persist through. After all, one sees clearly that the question of the admissibility of painted statues by appeal to the elderly is not to decide and rather by threatening to become confused, as explained or even can be done once, because we do not know exactly how far they went into the painting and what principle it was relevant to them, and secondly, if we knew it, the question would remain whether we have to follow their authority therein. So we also see on this appeal. So much seems to me no doubt that a selfconsistent, mainly aiming at truth to nature, only stylistic secondary considerations like invoice bearing, full painting of the statues would have greater authority than half or a durable principle devoid that one is inclined assume among the ancients or to find, but although not quite as certainly, if not full as half preferable at the same time a completely omitted painting aiming at truth to nature, and to this, both aesthetically and practically in any case important, question it should be in the following . The painter Ed. Magnus referred to in s pamphlet, "The polychromy from the artistic point of view. Bonn, 1872," the true nature of the polychrome statues repeated as to be discarded entirely "barbarism", but can make no other reason for this claim (p. 12, 42), as the popular to be considered below, that the statue, the closer you get to the painting of nature, the more cringing impression of wax do, even too much for the art is that it should not arrive at perfect deception. Meanwhile, it goes against the monotonous whiteness of the plaster and marble, and he believes that by artificial means a kind of patina should represent and be artfully spread in "harmonious opposites," which remedy this deficiency in a more advantageous manner than produced by chance natural patina virtue, but admits (p. 28 Schr s) that an employee's own attempt in this direction have not taken him to a satisfactory result. It is instructive to read this attempt by seeing it as the different parts of the body have exercised their right of special staining the artist claimed, though he knows how

to find a zulngliches principle of allocated coloring them, of course, because he only that, what is possible when the statues once to be given color, considers barbaric. He says: "Far from trying nature like painting, I contented myself, the same as if the work of two or three kinds of material would be composed, the flesh yellowish, and to drown the gown blue or red. Buts! Behold! Soon ceased to a feeling of emptiness, I felt that it would not be right to stop there, the head, the head of the human appearance looked deserted hair, lips, and especially the eye, they demanded admonishing their right, they looked enviously at.! the color, even for the slightest gold ornament she saw leave admonishing way you did not want to forget not only - she wanted to be the first in the award, and this for two-fold reasons. again because they, as eyes, mouth and hair of the Once drag life and radiant breathing, and first and mostly the view of the beholder only on the monotonous at some point a second sculpture tint - because eye and mouth nature itself are marked by darker shade of color chosen before all the rest of the body, secondly. is struck so require hair, eyes, mouth, etc. their right. Consequently, those unausfllbare certain emptiness that we all feel at sculptures from two materials, which so many of the later antiquity have been preserved explained. " "If one now but in this business, you want to characterize the color difference of the head, as one goes to a web without law and barrier on the stop is no longer to make. Entering a cliff, which one would do better as far as possible to circumnavigate. " "Who has ever undertaken to approach the color of the sculpture, which will certainly agree with me: It's either something light, or it is a company of insurmountable difficulty Decorative, especially smaller items, as it were playing to decorate with paint, this requires in fact to color only some knowledge and good taste A finished life-size full round of art but -. this is a business in which it is much harder, not to destroy, but to make something good. " We are now going through the reasons, according to what has been hitherto generally part at all, and especially some decided against painting the statues against the true nature, to see if they are really crucial. The very basic reason that the visual arts have at all to beware of working or imitation of nature, and therefore the natural coloring "too much" is (as Magnus puts it), would only have meant something if at the same time a point of view, why is it too much, would asserted, that can only be based on the following reasons, since deviations of the visual arts by nature thus can not simply justify that should ever be waived. (Cf. Section XXII.) deviates but even the true nature painted statue enough by nature by their rigidity from, that also the color is too much, must first be justified. And so we now need to look for these reasons. They told 4) , it is contrary to the a priori concepts and nature of, related to representation of shape, plastic, to give color. Each art had to keep their borders. Now the observance of this rule is to some extent a matter of course, because of a painted statue has the plastic just enough proportion as they form, like painting

insofar as they are color, each thus remains within its limits; prevent but can the two arts to connect to a common output, when their only connection also granted benefits. But that could not be the case, can not be proved from the diversity of their mutual concept. For the same reason one might otherwise prohibit the connection of music and poetry in song, music and rhythmic body movement in dance, and even the painting of drawings. Less so, however, the compound that enters the plastic with painting painted statues, a priori, by the terms of both arts are discarded, as both arts for themselves actually give only abstractions of what einheitlichst in nature to a living whole connected 's. This abstraction seems much more likely to require justification, as the connection.
4) For

example, Shas Jewellers Dioscuri 1866. 211th Eggers Kunstbl, in 1853. No,

48,420. It has been said 5) that art at all, instead of going to natural truth, "lift the spiritual substantiality, and the characteristic peculiarity of things and shape", but the color should be considered in this respect to the form as immaterial and random, so restrictive one in the shape of the sculpture.
5) Eggers

Kunstbl. In 1853. no 48

But on the contrary: the color complements the shape not only by a natural jewelry that you can probably treat the shape, but also by characteristic in regulations, including the form itself is not enough. The redness or paleness of her cheek, the more whitish or brownish coloring of the skin, the uniformity or variety of inks in it, the blond or brunette beings in general, the colors of clothing and related things, all tell us something that the mere shape not say can and what can contribute significantly to the characterization of a person in connection with the shape. The painter paints the Pan browner than the Apollo, the Christ Child lighter than the John and wasted all the charm of coloring, which he and the nature is powerful, to the goddess of beauty and the servants of their stimulus, and now I do not know why the plastic shapes such differences should contribute to less vivid characteristic, as if drawn to, but for a random, insignificant to look at. It has been said in the connection of color and shape to share the attention and none still make its full impression. - Whether we admit it in some way, as the product of both attenuated factors, the impression may be yet greater and more meaningful than if you had each factor in itself, nor any but himself it will always be possible to work on you, by deliberately conceived to be color or eye shape and tracked. For this purpose, yes the man has a capacity for abstraction. There would also be colored by statues colorless not want to be excluded, as are not excluded by paintings drawings, not only to apply the reverse exclusion. It is certain that shape us the most beautiful girl seems therefore only the more beautiful that it has roses on the cheeks, on the lips and purple lilies on the skin. Why should not apply at statues the same advantage. And you complain at the sight of the beautiful girl not distraction of attention by the color, why the sight of a beautiful statue.

They told 6) , - and earlier (Vol. I.), this objection has been thought - that the painting of statues of the imagination does not allow any additional employment left. But I think sooner enough however to have said. The less one expects of the imagination to waste their strength in completing the sensible foundation, a freer and higher flight so they will be able to take the full backing of the presented. Yes, in some statues would like to leave too little rather than too much of a stimulus to the imagination by painting fear.
6) Lazarus

Eggers Kunstbl. In 1854. no 30, and Carrire see in textbooks. d

Aesth. I 478 After Kirchmann (d Lehrb. Aesth II. 237 258) to the fact that the artist "is limited to the pure color no shading" to prevent the statue, to represent the flesh tones of the skin. The shading arises namely through the physicality of the statue virtue of natural lighting by itself - but why is the appearance of the incarnate not prevented by the same circumstance in the natural face. No one other than the natural light but in such paints the shading inside. Well as the weightiest, so almost everywhere recurring objection applies to the, that if the shape of the color is given, more so miss the movement, and aping so but by the rigid Contrary kicking the, living on two sides not to awakened life, shape receive an uncanny horrible impression, which is not the case when only be given the abstract form; let these also claim to see the full life, do not pay by direct same to be only play one side representing . In reliance on that delivering the ball referring to regularly impression, which the figures in wax figure cabinets that someone these figures has occasionally called the "unfortunate" because they all have to serve to support the ban on natural real painting of statues. But now it is certain that the already full enough shape without color reminds us of the full people to leave miss the rest except the shape, if we did not blunted by habit, however, that when just as for the colored statues took place, just as they would come to Equip. Yes, if we were not used to seeing white statues, they would be as ghostly beings perhaps more 7) , and nearly as much scare even painted portraits without habituation than painted wax figures, as I have read myself because remember that a wild man whose head was portrayed by an artist, it could be quietly dropped until the color came about, when he ran away scared. We are so to say even those savages in relation to painted statues. After we did our part, already accustomed to the lifelike painted portrait of childhood, it might not even would require only one new habit for quite a lifelike painted statue. In fact I have been told that they had several years ago found a driven in silver old portrait head of Philip II in Vienna, which, itself a work of art was painted by an excellent artist with all natural gradation of inks, and even not made the disgusting impression of the wax figures, therefore, have also attracted great attention. What it would therefore only need to still continue to drive closer to the truth of nature, which attaches to the terrifying impression to make its repulsive effect disappear. I want to give only the example not too much, because this is a more accurate Konstatierung same as would require me become by the oral report. If you can not find in any art note something about it?

7) For

this, a little story, which Herodotus and Pausanias tell of a stratagem, which the Phokians once served in the wars against the Thessalians to frighten them. Five hundred of their bravest men smeared themselves, with their armor entirely with white plaster and moved at night - it was just full moon - against the camp of the Thessalians on, this thought to see ghosts, and did not dare to take up arms, so that a great slaughter was made among them. (Kugler museum., 1835. P.79)

If it had its correctness By previous examples, it would at any rate the view that the eerie impression of the wax figures would depend on their natural true polychrome find a direct refutation of it, but even if it is not, I can find absolutely no reason that the art habituation a power they prove otherwise within such wide limits, to bring disadvantages in favor of further advantages to disappear, should fail here. There is just not art habituation in terms of painted statues, because not works now. Although such is not entirely absent, but then not wanting to become accustomed too. No one is of the painted porcelain figurines that are found in each Nippschranke, and often occurring in countless churches carved altarpieces with Madonna statues, representations etc Supper, painted all, get an eerie feeling. The majority of them certainly does not make a favorable impression, but the color is off because they think if they would win. I just want to therefore put no too much weight to these examples, because you could say at the porcelain figurines permit their small size, with larger altarpieces the imperfection of their plastic complement the color as is rather admissible in completed statues and, unless those works that still imitating nature remained far enough so as not to miss the natural movement. Anyway, the question is not settled, as long as it has the effect of habituation art, this major factor in the artistic effect, not considered necessary. But so far you have it, as far as I can see, not included in our question, however, the importance of this consideration of the Section XXII. salaried discussions should brighten. Now you might consider it probable that, if a true benefit from coloring the statues would be to get the same have made more intrusive claims and would have so far been found even in imperfect works to be vollkommnerer training of the double art from a very general point irritation. Those who can not find any doubt that music and poetry can form a beneficial compound in singing, she has become very forced on by itself and is penetrated by himself, why not just as the polychromische plastic, and why you think they again dropped, but after they have been there if they could compete against a higher art education. On the latter question, of course, can be a easy answer, bringing the first answer pretty much with. As people began to appreciate the ancient art again, they found the colors on the statues extinguished, She also made clear by, accustomed thereto as something valid pattern and then found also valid reasons for this pattern. Had the colors have not been extinguished, we would have from the outset rather than the colored statues imitated exemplary, get used to it and no one had invaded reasons for

their rejection. But after once taken place and supported by habituation theory, it could not come so easily to quite serious and resounding decision to try the polychromy. And should it indeed happen, and even the most excellent are thus made, the validity of which would probably be the first major difficulty contrary to the existing habituation, as even the tastiest se dresses fashion finds a difficulty to naturalize and to arouse favor if the taste was spoiled by a long previously existing tasteless. Newer timid attempts to apply colors with statues were probably made while here and there, but not that something crucial to find it 8) . This would at least only one side of the sculpture and painting the same perfect work be as it should have been present in that head of Philip II, and the possible resistance of the habituation other hand, are taken into account.Because the course is obvious that if we an accomplished in the form of statue with color painted act against or the coloring behind the perfection of form only back would, we would perceive the color rather disturbing than uplifting, and could only get the same impression of as if we could find a nice drawing spoiled by poor coloring.
8) In

particular, is not very satisfying some failed attempts in Egger.s Kunstbl. In 1853. thought no 48th

But here lies the great difficulty in making any zulngliche samples. To bring it to a championship in the same coloring as in the shaping of statues, it would undoubtedly require a highly trained technology and practice. But where to find it? Also, technical difficulties may arise which hinder the success of such attempts and may actually hinder the full success. Not as easy as in the time of the first Renaissance unite now painter and sculptor in the same person, and should also both artists meet in the same work, it would not suffice to be a master in any art in itself, something Consummate to supply, but they must have each other set on the connection between the two arts. Now you might think though for the first sight, when a painter, a human figure on the canvas to paint white well, he would find it all the easier to paint a statue well because he to the shading, which by the lighting of the statue arises of itself and causes the appearance of the reliefs, as well as modeling of coloring it, had to be omitted, however, he has to artificially mimic the painting on the canvas. But even in the omission may be a difficulty. For while he may hold in the shade in the painting to the natural phenomenon, it is in the model of the statue itself stripped of any natural shading present to represent the abstract of color on the statue on the right entering the cabinet lighting. This includes the following: Will the Artist apply transparent colors on the statue, so the texture and respectively coloring of marble, gypsum, ore, wood shines through, and he wants to use thicker body color, the fineness of the plastic version litte thereby just as with any paint at all, and he would have strictly the same for preparation of the figure itself take corrective regardless of how he but otherwise such consideration is not unusual, by drafting it, for example, the traits of a bust or statue of dark ore deeper than a those made of white marble,

because the less sharply protruding shading on the former can be worked out, the trains appear to be relatively less deep. How far these difficulties wedges can come into abutment, and whether they might not yet be joined by other technischerseits, I can not judge, however, it would be subject to the discussion of a technical artist. After all, it will be a matter to decide the following questions. It depends on psychological laws, that an aesthetic advantage is not to achieve even with the fullest possible nature of true coloring of statues, and what are these laws? For my part, I am unable to find such laws. Or are technical difficulties of combining form and color, which does not allow it to come in perfect performances, and allow the continuance of a separation of the two appear advisable. - This is possible and requires both still open for discussion as attempts, but I would think the difficulty would be overcome at least so far, that what they leave something to be desired, completely through the art habituation, which can overcome so much, could be overcome, so do not consider it likely that this question in the affirmative significantly. Or, finally, is not an art painted statues, and that (apart from minor stylistic considerations) true to nature painted statues as really consisting see rightly, and a satisfactory meeting the same to expect from the future. - I think this is probably because there are reasons for the previous rejection easier than can justify the set up so far, but is it a safe decision can be sought only in the experience of the future. Even I frankly confess that if I was in their pure unbroken whiteness see a classic marble or plaster statue in front of me, I can not even make representations to me that they by some, it is the nature abgelauschte it was artfully composed, the painting could win that they do not lose more by the added chroma her, so to speak chaste charm, and the color would not really disturb the impression of pure draft of shape. But this does not weigh direct statement of feeling stronger than those raised here against intellectual reasons? Perhaps, and precisely because of this feeling like I make any definite decision. However, I believe that there is little to indicate the same thing. Because of the way that I see otherwise arise such feelings, it could be the simple natural consequence of the fact that I've seen so far completed only are white statues and very imperfect painted, the reverse would have been the case, it would also success have been reversed. I can but from the people themselves, I only ever saw in color, the color itself is not deducted in the imagination, and find myself not disturbed in its consideration by the color. 2) Architecture. It is known that in regard to the polychrome architecture no less than a controversy in regard to the polychrome sculpture, but I do not want to spread myself over those as far as it is done about this. Also in the colors of the architecture of the ancient world has moved on, as you have long believed that let go of taste considerations have to crucial facts supplied the proof for the colorful architecture of the Old and thereby excited the question of whether their rejection was our part

entitled . Thereafter, the issue has been discussed several times, but in any case can be decided by mere reference to the ancient architecture as little safe than with respect to the sculpture, and although for similar reasons. Without now discussing the whole situation, the question of whether to want to stand for historical or other relationship, what I lack sufficient preliminary studies, the following observations aim at only a personal impression with some to it Socialize ligand fundamental aspects to express. The Genoese and along the Riviera di levante you see many externally by a majority of colors, some of colorful enough whitewashed houses. They usually have given me the impression of taste, but interested in a certain way through the serene painting that gave them the color, as well as the diversity that ausprgte between the various houses, and it seemed to me that if one only very imperfectly thereby accommodated to advantage, principle, what it thrust upon from the outset as the most natural and almost self-evident, methodically developed and formed would also houses an art of painting could arise, which brings pleasing aesthetics. The principle, namely, that the difference in coloring or shading to keep in connection with the diversity of architectural parts, which, for example, pillars, pilasters, columns, post different to color or shade, as cornices, architraves, both different from the wall surface, beams unlike fillings, the capitals of columns and pilasters, unlike the strain, the substructure of the building other than the superstructure, ornaments unlike the ornate parts, which by the way in which specialization and gradation of color more or less, some itself could be passed only on differences of Light and Dark. Anyway, this principle seems so far to combine the best aesthetic conditions than by the same time expresses the physical structure of the organism in pleasing clarity, and a seeming diversity in a consistent link is created by the plan of the building. The monotony and indiscriminate hereby characterless outer treating the whole outside of the building it's mainly what one can accuse our architecture, and mangling this could be remedied at previous ways. This principle is enough for now of course are not mutually exclusive, because it still wonders what principle to make the choice of colors. Here, in my view, different aspects come to the forefront, and thereafter various systems of coloration be possible to complement rather than exclude and modify according to the character of the buildings and other circumstances, such as, for example, for northern climates and less resolute colors quieter same differences will be suitable, as the full color in nature and so to say farbendurstigern south. Some rules like this but upheld as universally valid, for example, that darker colors do not store them in larger sizes over light that parts that are related in meaning and direction just as their opposition to the unrelated issue, this relationship that subordinate parts differ rather by Nuanzierung as sharp tapping of the main parts (which still ornaments that are rather secondary members as subordinate parts) to exclude that the petty imaging fragmentation of colors or flash chroma will avoid everywhere, but rather a main color dominates the whole from which all colors or shades in larger sizes represent only as evasions, however, may come into play ornaments with strong contrasts. At least, I think it to me.

It also, however, a principle can be drawn with what is in my opinion but brought several times with unilateral or weight too large, partly with this in part, on another occasion stop, concerning compliance with the natural color of the material 9) . 9) Thus says Magnus (the polychrome p. 61): "For the external appearance of a building is to be noted everywhere than in accordance with reason, that all parts of the color of that material wear from which they are created, that they can not decorate with colors at least who never did and never come within the range of given to us by nature as a building material materials to light. "

It is in fact a recently (namely the part of the representatives of the Gothic) with preference claims-made principle, instead of hiding in buildings and objects of art industry, the nature of the material, but to leave as enter into the phenomenon, including greatest possible preservation of the natural color of the material part. I say "greatest possible", because without limitation can be due to conflicts with the principle of expediency and direct complacency at all, do not perform, and even seek it there. Rare at all, except for precious or for publication in itself favorable, material can be the same in architecture and art industry, the pure natural color, but contented themselves with themselves, with the greatest possible respect for the principle that the natural structure of the wood in window frames and doors by to shine through stain of alien color (however you stroke often both white), holds the Mauerbewurf within the limits of ever occurring stone colors, so avoids particularly resolute green and blue, with no way to observe the actual color of the material, and can be large workpieces parading in the substructure in their natural size without coating. In many works of art industry but one cares at all little about the rule to retain the natural color of the material, cups, Kaffeebreter, library books come in all colors of the Japanese lacquer coats indifferent wood and sheet metal, and I do not know where the rule such a despotic power came to defend it.For my part, it seems to me in the same subject at all apply to the following: However, we like generally speaking, an object is considered equal, from which it is made, is made of some aspects of the same characteristics, it also can be attributed to the interest of truth and clarity. But this interest is in relation to the material in works of architecture and art industry is not as fundamental and other interests to which can make also contends everywhere resounding that it could not give in conflict with it too, and would have to give way often enough; yes the very fact that it happens so often, must be done, should stop making such a fuss of the normative force of the principle, as is done here and there. For many objects, it is very indifferent, in fact, from which, at least in soft special kind of metal, wood, stone they are made, and it has therefore no interest, to see them; enough when leaves them just do not watch that they are made from something almost Zweckwidrigem. So it is also when should be of polychromy in the architecture, the speech, I believe the principle is not in a superposed manner, as eg . . See Magnus in Scripture have to take into account in more minor way "The polychrome", but, like columns and base and

capital, though made of the same stuff, not have to dress the same color. Magnus wants the builder to choose themselves as much as possible the building material of different colored fabrics so that it a pleasing variety of the apparent appearance on buildings 10) . An imposition which is virtually undisputed widely practicable and in any case not so feasible that the architectural structure sufficiently expressed as the difference of the material can not keep it in parallel. A characteristic of points but that seems not only to be at least as important as in this, but also by winning the decisive advantage that the terms direct complacency that can be satisfied better. So you will only be able to say that as far as the advantage of the characteristics of the natural appearance of the material compatible with the advantages of the appearance of the outline of the building and direct complacency considerations, would be to give that characteristic sequence.
10)

Strangely, the natural coloration of the human form in the visual arts is barbaric, here against the natural appearance of the building material be required in the architecture, while the visual arts in from the front it starts to imitate nature, architecture, convert change those according to purposes . Herein seems to me to be something of perverse world.

XXXV. Contribution to aesthetic theory of colors.

In Th IS 100 et seq of the associative effect of the colors has been discussed on the occasion of aesthetic association principle. We add here a complement to subject direct impression of colors, and direct as associative added by white and black. 1.From the direct impression of the colors. Indisputably make the colors have meaning apart from all associated with an innate relationship with our sense a peculiarly different, as designated by us directly, impression, partly depending on the different thickness, some different kind, making it the eye and through the eye of the soul excite behind. This part us but they can affect us directly aesthetically win partly through participation andersher mediated aesthetic impressions on the character of the same influence. Now, the impression can be any color influenced by grouping them with others, but would not it be cogent to say that each color its characteristic effect on the sensation owe only their combination with others, but rather you can be accountable to certain limits, what each not so much by virtue of the combination with others, as comparatively interacts with others, and in the combinations in which it is received, as their property brings with him, by some one is watching, what a different impression makes each when the field of view on a large overweight crowded, partly as each behaves differently on the same white or black ground, partly what each color is replaced by the constant impression on entering various compilations. So far as can now compare the effects of different colors, it will happen here, without regard to equally associative participation, as the effects on contrast and color harmonies,

which arise from combination of colors 1) .

1) In

regard to such instruction will be found in: ". physiology of colors" bridge's Leipzig 1866.

Thereafter, we can distinguish two sides to every color direct effect. The one resting in the sensation of brightness that it awakens, write black letters on colored paper or colored letters (with top coat) on black paper, the lighter the color, the more easily you'll have the lettering virtue of its Abstiches read it: this is a scale that is common to all colors, and of which each color under the same illumination less than white light shows, however, every one himself more or less light or dark as the other may appear. The other side is in the nature of color, where each color is different from the other specific or qualitatively. Even from this side but can the eye and the soul are energized by stronger or weaker: as it is red at the same brightness intensive stimulate excitement than any other color. Short, one can say: color stimulus is something other than brightness stimulus. Would energizing the part of the brightness alone into consideration, so one would have expected, since each color only contains a fraction of the white light, the brightness just a certain level of gray similar to that also their appeal to the soul would not be stronger than the stimulus this gray, but contradicts the experience. Rather, lets say that under a, the colors and the white same, lighting, - and same external lighting is ever provided to the comparability of the effect of different colors - meaning by any not dark color even encouraged stronger, is employed as through but the brighter white, so long as the same is not glossy (specular reflexion) strengthened and lifted completely so more than one with the same color light gray. Compare, for example, the appearance of a colored dress, a colored wall with a gray dress, a gray wall under the same lighting conditions. The reason of which can be found in the fact that the white and gray work is merged with the balance of colors, however, uncompensated uses each color with its peculiar charms in the eye. In fact, however, show colors that complement each other to white in the meeting, called complement colors, like red and blue, green, orange, and green blue, yellow and ultramarine blue, green, yellow and violet, depending on their greater proximity breakable at least or at most refrangible end of the spectrum immediately a certain contrast of character, which speak below, and so we have, the colors in the areas of vision an analogous case, as with chemical substances in differents areas of taste. The composite of complement colors white is to the face as the composite of acid and caustic alkali salt to taste. The taste of the acid and the alkali salts is lifted in to indifference, and so the salt tastes much less than the acid and alkali what it consists of, but still much stronger than pure water. Just as has dwindled in the colors white opposites, but it irritates the eye is still much stronger than the lightless black. We briefly describe the common from both sides, the brightness and the character of the impression, dependent strength of excitation, which provides a color, as the power of color.Black is in itself at all powerless, because both the brightness lacks as

color, who may find themselves inspired by glimpses into a pitch-dark night or the black of the visual field with closed eyes; consider nothing less than unkrftige effect of the contrast of black with white but we do not because we do not consider here the contrast effect. To explain the contradictory impression, to make the colors complement to us, the memory of a similar contrast in Tongebiete should contribute something. Let's take a song that expresses longing or sadness, or a devotional hymn, and compared with a dance or martial march, both if we find ourselves receptive, ie not stimulated by outside from the inside out, and it may be that we both of us if the same Quote intensity excited, but the first suggestion is very revival purely receptive mood, hot they therefore, a purely receptive excitation, and the second performs a stimulus to activity on the outside with it or is inclined to turn into active agitation, and we measure their therefore a more exciting character with; her name was therefore an exciting or active arousal. Is an active arousal somehow present, they can toned down by an impression of the first kind, softened, and converted to Umstnden even in a purely receptive impression will be, vice versa, a purely receptive excitation by an impression of the second kind in an active. Well Red, Orange, Yellow is for the same saturation, purity, lighting 2) not only intense exciting as greenish blue, blue and violet, but it also carries the excitement the part of the former colors of a more active, exciting, the part of the latter a more receptive character what we brevity former color par excellence, the former described as active, the latter as receptive, or, after the manner of use of the painter as warm, the latter as cold colors. But one has even compared the impression of red with trumpets, which no one can come in blue, while you want to compare blue with a flute. Even bulls and turkeys by red but not irritated by Blue to anger. However, one must not forget that the difference between red and blue in the given terms is only relative. From a more general point of even the impression of red is receptive, insofar as it comes from the outside of the blue, it only just beats the excitement of a lighter into active than the other.
2) Assuming

that this does not approach the darkness, where brightness ratios of the colors you assume values other than day lighting, and such as blue with increasing darkness is longer than visible red

The less united by the infinite number of color rays into which a prism separates white beam to a composite color, the simpler or more homogeneous, with some more composite is the color. If from all the rays that make up the white beam, only a very small fraction of a surface are reflected back, thus approaching the color of simplicity very much the impression of it would naturally come to the Black close or not to distinguish them, and conversely, when very few color beams missing to white, the idea of the white come close or not would be to differ. Since black because of all the lack of brightness and color at the same time, white, because to him the last missing, do not make (under the same lighting) the strongest possible impression on the eye,

so the point of maximum power of color can be in the above sense only between two limits , but where, about it until now a lack of tests. Anyway, the point of greatest strength seems to be regarded as the greatest point pleasantness or beauty of a color at the same time. Pure aniline blue, bright Verbenarot want to be on this point. Now, however, the degree of strength of a composite color for any given lighting conditions can be modified in that one, almost covering the mixed dye that they are with black or white 3) . The former with the successes to bring a portion of the total light colors without altering its composition ratio and without replacement in elimination, the latter to replace it with white and thereby dilute the substance. Both ways of the so-called saturation of the color decreases. By mixing the pigment with more and more black, the color is darker, brownish, brown, blackish, black and thus always feeble, by mixing with more and more white progressively lighter, paler, whitish, white, and takes the part of the brightness force, on the part of the color impression of strength, with very feeble dunkelen colors with profit in powerful and bright with loss of strength as a whole.
3) If

you have a translucent dye, so that the same is achieved by dilution with a colorless liquid when applied to a black or white base.

There are various expressions, which one tries to describe the impression of different colors depending on changes in their composition and degree of saturation and its dependent change in its force expressions which meet except for the purpose of the designation itself, the other end, to the Community to remember what has the impression of different colors modifications with the impression from other areas, and thereby mediating both linguistic and conceptual relation thereto. In general, we call the deep or vivid colors, depending on when they have great power darker or lighter than the color on the maximum power point, which is held between the two, however serious, difficult, or cheerful, light, depending on the strength is weakened by greater darkening or brightening more. Preferably the favor now on this or that color or color modification depends apart from associative co-determination to which we do not come back here, much of the individuality from. An average of loves ever more purely receptive, the other more active exciting, more of a deep, the other more lively excitations of A is found to more serious, the other voted for more hilarity. After his preference for the color. Generally speaking, a man loves at all sometimes running strong receptive excitations, but also loves to rest of of previous intense excitement in weaker or different kind arousal, and can withstand the longest and oftenest a certain average degree of excitement, in which he neither overwrought still by lack sufficient employment feels unsatisfied. Women love pure and relatively more receptive receptive suggestions than men, while children relatively more active than adults. Next comes into consideration that the colors are sensual stimulants, and also the need sensual employment is different, generally occurs with increasing age, increasing education, increasing tendency to retreat into herself against the attraction

of higher associative and reflective back employment. Finally, the man demands everywhere a certain change of stimuli, including the colors, to escape the pain, which leads each monotony with, but he can from the established point of certain colors in relatively greater extent and more tolerated than others without overwrought or feel unsatisfied by the lack of stimulus, and not only that nature offers its eye in this respect by itself manifold and changing conditions constitute but he can also, depending on its aesthetic color needs of participation by the associative factor of impression different conditions in this gain respect, and especially clothing and housing, getting next continuations of the external man, considered if it is to satisfy his hobby colors. While his choice in this regard is not merely determined by the aesthetic need, but only some chosen color because it costs half a cruiser to a few square feet, and some because it corresponds to this or that external purpose, the taste of the individual by the ever-changing more or less leveling Fashion partly influenced partly overcome, but prevents all this not mean that the aesthetic mode of action and thereafter choice of colors from the established criteria broadly upheld, and the fashion invests himself up to certain limits, bridle and reins , of the details one must certainly not hold or bump. These general considerations should be subordinate themselves to pretty much everything that ever General can be said about the direct aesthetic effect of different colors. Possible, however, that even idiosyncrasies that come under yet dark aspects are cooperating when some the blue to yellow, others the yellow to blue so decidedly prefer, which is well known von Reichenbach, a distinguishing sign of the so-called sensitives looks of the non-sensitives. But we follow here is what can be traced from the established criteria. Generally spoken can now say that kraftiges red, under constantly in small masses or short-lived because it appeals to most, even the loveliest color is aesthetically pleasing. Anyway, it appears the child, the savage, the newly operated born blind, just as all whose sensuous receptivity is still fresh, appear at all in the average big way. The operating from Chesselden born blind was initially scarlet most beautiful of all colors and, amongst the rest of the liveliest (most gay) seemed to him the most pleasant, while Black initially caused him great discomfort. Soon, however, he learned to tolerate it. But when he accidentally saw a black woman a few months later, he shuddered at her sight (which struck with great horror at the sight). Fiorillo says in the introduction to see Gesch. d Draw. Arts (l. 3). "Strange is the general preference of raw peoples for the red color, probably as the one that stands out most in the eyes. Through all zones will be found that they needed not only to the Monochromats 4) , but also as Zierrath in body, attached to all sorts of clothing and equipment is almost exclusively. "
4) In

the ancient peoples of Hawkesworth Th III. 687th Plin. HN lib. XXlIl. c. 7, when the Chaldeans by Ezekiel XXIII. 14 etc

Among the Romans, the red color was sacred, they died so that the face of the statue of Jupiter and the triumphant commander also be colored so that (Pliny HN). In Homer (II II 637) red painted ships are mentioned. Fuegians, Patagonians, wild tribes in North America, New Zealand, by specifying various Reisebeschreiber Hollanders paint their bodies red. Even with the Otaheitiren and residents of the Friendly Islands Cook was red to the favorite color. The Sandwich Islanders covered the gods in the shrines with red dresses, what use were found in the discovery of America, the Spaniards there. Red was also the ancient Sophi in Persia's exclusively own costume. Meanwhile, deep red is precisely because it irritates most, also addressed allgemeinge less tolerated than any other color in large masses in the long run, and because it irritates most sensual, most of the age and loathed by the Trappists. Less often than any other color forms in cultured peoples bright red the main color of an entire dress or an entire room. Everyone tells himself that and always a very red sky instead of blue, and always a very red earth, would take the green, not withstanding, the eye would see it as burnt out. Here Against a blue-covered ground, instead of the green us not predict from the opposite points of view, the eye would miss on the length of the sufficient arousal, be it dull to mute by any means with velcro awareness of the state of a receptive excitement, which is not sufficiently strong is satisfying, and probably even of blue stirred dull here. However, we are the green, which is full of exciting force between red and blue, so to say, not enough. We do not want while forgetting that would contribute to the disgust of a red or blue earth also, that we may have life and growth of the plants only to the Green learn associate, and a red or blue-covered ground would appear no longer grow healthily us , what are associative co-determination, but apart from that we feel that a walk through green meadows and forests must do the eye directly to the length better than it could be by red or blue. This does not mean that we have the time please look at the blue sky, so it provides a true refreshment to set up of a sunny way irritated and fatigued eye for a time in the full blue sky. Although the conclusion of the eyes would bring an even more perfect peace. But we prefer yes else with only a not too severe fatigue during the day before, but rest instead of pure passivity or sleep in a weaker and different type of employment. In general, we can easily see the blue sky with our mainly forward and downward eyes just a bit ahead of us, and seldom missing change of blueness with turbidity, cloudiness and red makes it even less come to the feeling of Flaubert awareness. Differences by gender and age anlangend, the more active red is relatively preferred by the man, the Blue rezeptivere of the woman, and as long as the man is anything on clothes colors, purple and scarlet is his breeding plumage. But by the youth active excitations prefers rezeptiveren in general, this creates among the youth of the female sex is a conflict, which a very little girl but a scarlet dress an aniline or Berlin blue still prefer, and the lively Virgin is still the pink ball dress delight can, what's so good to her true love of active punch, and how the little girl with us, and adult women behave in rude nations.

Generally spoken dear children at all the colors more than adults, women more than men; - children, because they do for sensual, women because they are more receptive to suggestions receptive, but colors are among the most sensual and receptive stimulants at the same time. Raw peoples behave in this respect like children. With a free choice between a black, white and color dress is therefore the child, at least the female, sure to grab the color, the black or white is just oktroiert him, the adult educated woman can also grab for the white or black, just because she is grown up and formed, thereby associative moments most varied kind come into effect, but on average you can see it far more colored dresses in the world of women than men world; colorful in materials or even patterned almost exclusively in the woman's world: and so much the fashion changes, they can but this ratio generally exist. Raw peoples who do not hold a lot of clothes, paint and even tattooed her naked body red or colorful. But the more increases the formation of a people, the more comes back to the sensual taste in color and comes for the adequacy of associative advantage. Common ground that it would be interesting to follow the variations of colors hobby especially on clothing and architecture through the various ages and nations comparative, and also is about much in individual compilations before, but I did not know that the task has been carried out methodically and pragmatic in some extension was. Our current time and culture is probably pretty much at one extreme of the colors contempt. Not so long ago that green and blue frock coat with bright buttons were popular and all Umbrellas red, and further back was the whole male country clothing color and now have black, brown, gray and pale yellow in male clothing the upper hand , the taste for polychrome architecture and sculpture but the homage to the old, is even frowned upon. Our time and our education has become so to say more abstract. The superior general trend-setting man gives himself little more in the external sense bill and do not want to attract through these and dazzle. By avoiding the outer gloss and jewelry, the attention is of course more to its intrinsic value; also but, has no such, will still gain the appearance of it by imitating the voice Scheinlosigkeit, as was the use of black solid clothing when man more and more generalized and finally be compelling fashion. The woman, however, has even more pleasure than the man and the externality is relatively attract more reliant by their appearance, could not easily give so much of price, therefore, than the man, but on the whole are also the women's clothing with us always monochrome and color it has become increasingly insignificant. And what has been accomplished here in this respect, is on the point to begin with the peoples of the Orient, via access in accordance with a European culture on them to perform. In the subject, in the Orient more and more dwindling apparel colors found in an essay by H. Bamberg dresses and ornaments of ostislamitischen peoples in Westermann's Illustr.Monatshefte, 1868. P 1 52 others following not uninteresting remark: "It is strange how we meet today on our course to the east to the more brightly colored clothes, the more we are the same from one end to the other to penetrate."

"On the banks of the Bosphorus, the bright red of the Janissaries Dschubbes Tschorbatschi's, the saffron costumes with the Hofpagen Janitscharenleben and Janitscharengeiste are long gone .... Yes, our travelers are right when they picturesquely on the day by day more and more vanishing Romantic View of the East complain. In Constantinople will be at the gathering of a large crowd of people only in the light-colored Feredsches (woman coats) or in the shawls, which are used as a belt of the middle and lower class of people, sometimes even in the Schalvars (Pants ) peripatetic Mollas or Esnafs (craftsmen) can discover the picturesque East., the great majority shrouded in black or brown robes, which almost already become the prevailing fashion everywhere in the cities, for there is as weird as it may always sound in Turkey has an important class of light-colored, garish suits always Kabalk (roughness) or Trlk (Turkishness), which is synonymous with the first seen. The same is true for the Turkish fashion. Here is the time of the Sassanids Scarlet a popular have been color;. yet today it's ousted from all layers, and if the same plain fabrics is always given the preference, they are always modest green, yellow, blue or whose nuances Only the nomad has remained faithful to the old custom he. like to meet both, as well as its resident stem and fellow believer in Central Asia only in the wild colored clothes, and well you mostly nomadic in the bazaar of Erzerum, Charpul, Diabekr and Mosul Kurds with bright red coat fabrics, boots and pants, one is in Central Asia even at the highest class of officials consider it an honor to erhallen Khan from a fiery red Tschapau Chogha or, still more, to parade in such public places. " To lead an opposite extreme contempt for our colors, so provide the ancient Egyptians such dar. In an essay on ancient Egypt in "foreign countries" in 1868. no 40 S. 950 is found by a special version in this regard the following passage: "In the sanctuary just as in ordinary life, the people of Egypt in such a signifier Dimensions enveloped with the jewelry of colors that we can not doubt that it was the joy of chroma and on Sparkly, which belongs so completely own childhood, been a determining train their character. Were there but almost no object of her public and private life, she is not covered with paint. "They painted their temples and their homes, doors and rooms, the tables, chairs and benches, the home appliance, pots and glasses, jewelry and statues, clothes and weapons, the coffins and grave vaults, books and monuments, skin and hair. Depending flash, more colorful, you can say, the distinguished themselves seemed to the Egyptians. The Collar, where he not made of precious stones and metals, is pressed only of glued calico, often resembles a rainbow wreath. On the sailboat of Making the hull and the mast, the cottage, or rather its serving chair, the control, the rudder, the sail painted, gaudy, "etc. C. Hermann (general Aesth. P. 68) assumes that all the given things in nature that have a particular color in common with each other, otherwise another by some that as the formal externally identical to corresponding inner essence-like feature a unit or class will be connected. It can not be a coincidence, but only inner necessity that carry certain things in nature only certain colors, but not others in itself, the way in

which nature has distributed the individual things in advance can only be a reasonable and self- organic even be considered, from the flat reasonable understanding of this process in relation to the nature of the color could even the importance of each of these latter be concluded with certainty even for us. Common ground now that finally nothing is random in nature, it is also the color of natural objects not, but I would say that for our knowledge up to now set limits in fact nothing random, appears as the color of the same, - one Think of the manifold Blumenvarietten, - and it would be difficult to get out with the development Hermann'schen View on a philosophy of nature mysticism. 2) From the direct and associative impressions of white and black. The direct effect of the White and Black differs in that the strongest White, Black does not grant the light stimulus, but has this in common, that both the charm of color missing, after which they act very different from some aspects of other equally. This will be the most common uses of white and black, but both determined by the uses and the natural occurrence of associative impression of both. From the first point of the white is the choice between white and black generally speaking preferred the black for use on larger areas, because there can be a job left to the eye, the eye completely removes the black. We require a certain average in waking employment, including the eye has also contribute his share. No one likes to live in a completely black room, while allowing the only white still fallen, and even the monastery cells are within, not black, but white, regardless of the black in that it provides the sense nothing can be considered as a cause, a replacement to look into the inner and higher employment, and less disruptive in such employment, therefore moderate use, especially as the color of clothing, may grant a help or a sign of it, but beyond even too much of the sensory stimulus acts depressing on the whole spirit . Books, printed white on black instead of vice versa, would only fit into a library of Erebus. Least said the black youth, the female sex and sensual uncultured peoples, whereas it easier the color and the white in the clothing and otherwise repressed, the more by age, gender, level of education, the tendency to abstract pursuits that desire to eat out at and turn away from the stimuli increases. Black-clad little children dressed in black and raw peoples are therefore not, while there, especially female, not reluctant children to be dressed in white and appear white costumes with Arabs and Hindus. Women dress is not easy, unlike grief, older age, and for the black church, while black is in fact, become the party dress and formal dress of men. C. Hermann (sth. color theory p. 55) notes that, "when white and black occur in conjunction with each other, the natural ratio of this was that the white base, but Black is the Brushed or the ceiling," but what I would concede only in so far as we love to look up homemade remark generally speaking whites in overweight against black, but the Brushed takes up less space than the base usually, and probably we would engravings, by the way, in its essential parts but also contain white enough, not surrounded by so much white on the edge, if not should be compensated for by the

many black eye. What seems to me to speak directly to Hermann, is that we require below to view in a vertical superposition of the white areas and at all Brighter above, the black or darker. Never will find that the wall surface of a one room is darker than the paneling in the lower parts of the same and the ceiling darker than the walls, but it is always the other way around, and everyone tells himself that it would look bad if it were not so; one had the impression that the severity superimposed over the Light. However, very peculiar that the Brighter what excites the eye with more power, weight looser appear similar, but there it is. An example of perverse effect in this regard given the Lateran Church in Rome. It is decorated brightly in the walls, white with gray niches in which white statues, also has a floor in white and gray, but the ceiling decorated in the Renaissance taste of Michelangelo's drawings, busy with their relatively dunkelen heavy colors inharmonious on the whole. On the common for White and Black lack of color stimulus is based on the other hand, that the white gives the impression of desolation as well as the black in large masses; - think of a snowy landscape, a white room wall, - and that the White nevertheless that it appears in some ways the opposite of black, the black makes stronger competition in its applications, as each color, so that under very similar circumstances, often the choice is only between white and black or very dark colors, but without any difference between two aspects of other, non-compliance falls there. And the Anglican priest reads the prayer before the sermon in a long white surplice, while he dressed himself to preaching with a long black robe, as the Catholic priest robe is white, Protestant black. 5) So you see older serious women mostly black or very dark colored, partly white, never dressed vividly colored; also is hard to lift the white dress of the women just as common as black been and remains that of men. If, however, the clothing of the present world at all educated men or the black standing in the middle between white and black and gray, while that of the ancient Greeks and Romans were white. Also, men's ties go today mainly between white and black.
5) Westermann's

Illustr. Monatshefte 1865. S. 1541.

But the Catholic cult is also more sensual than the Protestant, the older woman who dresses always white, is still looking for more in the outer life, as the dresses always black, and the ancient Greeks and Romans even less abstracted from the sensible side of life than we do. Also have white and black because of their common color deficiency in common that sets them apart from contrasting colors that stand out mutually, are best suited as a base to bring the peculiar effect of colors and color contrasts to advantage, and if Black also the quantitative stimulus lacks brightness, the light comes on its ground especially in the light. Nothing more magnificent than a starlit night sky as a silverembroidered black velvet dress. Dull White on Black certainly looks rather sad,

because the contrast is not sufficient to give the power of the white gloss, but rather we have two wastes of the eye instead of one. Let us turn to the associative effect, as occurs in our Black bemerktermaen preferably with the associative meaning of mourning on. A battered black out room around the hat of a man, the black lackluster garb of a woman doing a black flag over the house, the black curtains of a horse, the black pile everywhere the impression of such. This naturally depends first on the familiar use of black as a sign of mourning, the use itself but seems to fit out two aspects that we can just distinguish as sympathetic and symbolic, from sympathetic insofar as the mourning of Deposited causes the people to be einzukehren; does the black also, yes it's true the eye itself sadly at the length, and can be like a grieving soul grieve the senses with it: from symbolic, provided the night of the eye recalls the night of death and vice versa. But if it Black is not, which one mourns, we will be able to find white or a receptive colors suitable front of the active, as such really are in otherwise, so I read that the Chinese and the Queens of France knows the Cardinals violet, the Jews mourn blue, while the Romans and Greeks had no actual color of mourning. It's black but also not with us everywhere the impression of sadness, by focusing on participatory circumstances it matters much. Neither the black dress celebration of the man, nor the black velvet and silk dress a woman give the impression of sadness by the other convention, or other accent that the treasure or the luster of the fabric is, the associative meaning changes. Under certain circumstances, can even make a black, almost its direct opposite impression, associative impression, though I generally do not want to sign the paradoxical statement, the Hermann C. (general Aesth.77) establishes that "black as opposed to white always the impression of the fiery, Energetic, depths "makes. But it is true, what makes the same claim that black eyes and hair, against the sparse eyes, blond or even white hair, sable make this impression against the white horses and black peat makes us the impression of greater fertility than white lime or yellow sandy earth . Of course, because we are accustomed linked to the black in these modes of occurrence to see the larger energy of life, the greater fertility, we make it again because, but only in these modes of occurrence. Against this no one will get from black coal compared to an incandescent, a black fire place over a strewn with white sands dance place, a black Damenhute against a white, giving the impression of fiery, Energetic, but find serious only in general any the black when the white and are more easily remembered than femininity to masculinity by which, however, is also related to legally removed for easier association of energy. The associative character of the White ever anlangend so the same guarantees so that it is tarnished most easily through each patch, the safest, the actual existence of cleanliness and purity, is therefore expressly the symbol of purity, not just the physical, and the spiritual or of innocence explains what the lily has received its symbolic dowry. It helps that the women's world is more inclined than the men's world, the white preferable to the black. For cleanliness and purity characteristics that it is preferable to calls from women, and they demand more than the men

themselves. You find on your own dress and give a guarantee of the dress, like the women, and is probably the women at ease. Yes, a girl or a woman who dresses always dazzling white, gives the impression that it is higher than any other, this property, whereas no dress Saloppett makes the impression of greater than a dirty white. Even little girls get used by the white dress at the cleanliness, but in boys it would be in vain, and so they can better operate in dark clothes with road dust. Not only women, even angels dress in consideration of their innocence and because they do not have individual tastes, like in white and would do it more often, if not the painter her sense of color often did very wrong to prove to them and therefore out plastered wherever possible. With all the changes of the dress between different colors, black and white, the body, bed and table linen for man and woman and child at each neat nation 6) remained always white; against this rock strength breaks all the fashion, yet it is less would require laundering when asked to less white. So strongly outweighs the demand of the external impression of cleanliness purpose of consideration. Nowhere but also makes this demand as vigorously as in this case asserted and goes so vividly in the associative sense. In women especially whites exerts a kind of magic, making them the sensual wasteland of white is transfigured. What a bunch of gold to the banker, the woman is a pile of white linen in the eyes by not only the impression of the cleanliness of the tool itself, but the people of a whole, a whole economy thereby receives.
6) The

very unclean in her lingerie and rarely wear the same changing Persians against this largely dark blue cotton-wool shirts.

But at the table stuff to the subject of cleanliness becomes even added another motive to prefer the white color before, except that it is expressly contrary to the sense of taste employment in the use of the tool table as the sense of sight. Now you might black in this respect still want to prefer less disturbing. But some black would not carry the association of cleanliness in the same degree, some may interfere with the Mitanregung of a mind, if not only thrives on obesity that support the other. Therefore hear a concert you prefer in the light than in the dark, and so you will also like to dine on a white than black table cloth. Much as white as witness the cleanliness is recommended in all cases where cleanliness can really keep upright, so it's frowned upon in all cases where it is not possible to keep it.What man would seem absurd in white boots and carries herself a woman or a girl white satin shoes just as ball shoes. Therefore, after a remark by C. Hermann, although room doors but not the road dust and grime exposed doors must be white. Now, of course, makes white except for the impression of cleanliness and purity also the indifference with which the simplicity is closely related to, and have to escape the danger of such interpretation, a woman of the world in society prefer colored dresses, but returns home in morning - White and Abendneglig like to

return, what then came to say to the woman as the same thing, as have the green for the plant, and what the resulting color auszublhn only temporarily.

XXXVI. Preface to a second series of aesthetic laws or Prinzipe.

I have asked a number of aesthetic laws or Prinzipe rather to the input of this document and close the same, apart from the last standing appendix sections, with such a. In a systematic aesthetics in connection with all laws, ie one after the other, abzuhandeln would have been, but it would have been hard to avoid fatigue thereby, and by the pronounced tilt of this writing it was not in it at all except in a systematic sequence. So I just preceded by some of the most important laws and sought to pursue in the most important applications, by but it involve not only among themselves but also with still other laws of these other laws has been previously thought only occasionally, in so far afforded occasion for it. Here, the need for a somewhat more detailed discussion but could make himself felt the same, and such I will now follow, as I recall it mentioned the difficulties in theory I, which the meeting is subject to aesthetic laws at all, and which also meet the following . That the totality of these laws must be supplemented by some relationship in a system of aesthetics or a more general claims-making, hedonic (Vol. I.) once to take more concrete, uniform, doubtful whether to treat at the same time be more comprehensible, and in order to bring out the character of a hodgepodge, I believe it.One may speak of a first attempt to deal with this difficult subject more than rhapsodic or superficially, does not require too much, everyone will already have therefore easier for me, because he himself is not in the first. Thorough course will, as in the first Parts remembered and followed the close of the XLIII. Section still come back with some comments that can treat the chapter of the aesthetic laws only after realization of a uniform constitution of the emergence of pleasure and pain; also hereafter but should the derivation of the individual laws thereof, as co-order from the point of view of the same, remain difficult it should also be practical. XXXVII. Principle of aesthetic

contrast, the aesthetic result and reconciliation.

1.Aesthetic principle of contrast.

When quantitatively or qualitatively affect different sensation stimuli in such connexion or employ the idea that their difference really comes into consciousness as a difference, so it depends on an effect, which as the sum of the individual effects can not be explained, but to this effect as one the individual effects on both rising and

Any amendments, added effect occurs, which we refer to here as brief and general contrast effect, though in the ordinary use of language only Maintain effects of this nature, which depend on strong contrasts, to be called that. Exerts already ruthlessly aesthetic participation of contrast of black and white, red and green an effect on the eye, which can not be explained as the sum of the effects that black and white, red and green information such as to speak for themselves, and by virtue of their the black blacker, the whites whiter, the redder red, green green appears, considered in itself. So a great big man appears a giant and completely a people of giants against small, a little man, a dwarf or dwarves genvolk over. Any amendments to this effect but not the impression of the individual stimuli alone comes into consideration here, but the contrast effect with the force of a peculiar stimulus which the mind is engaged in a way that it can be done by any single stimulus. Now what is this relationship of aesthetically indifferent stimuli also true of aesthetic differents, so that one can say in general: the pleasure-giving are the more pleasure, the more it occurs in contrast with Unlustgebendem or less Lustgebendem, for which a corresponding set of Imaging the pain occurs. And the perceived or imagined unlike yourself busy while the soul in a peculiar way. Each artwork wins if we compare it with less accomplished works of art of the same species or genus, and loses if we compare it with more perfect. Kenner, which pursue the art in its development, can great pleasure in very imperfect art works are by dragging the progress against the former less perfect into consideration, however, non-expert, whom the historical relationship is not common, they ruthlessly it after comparisons with the find more perfect present artworks displeasing. However, there is a need for real emergence of a contrast effect in the specified purposes of the fulfillment of three conditions: a) the difference in the factors of contrast as the susceptibility to the view of the difference and the attention it has equally exceed a certain threshold, as for the single factor. In short, the entry into Th I. threshold discussed law here in force, b) The two factors need not be absolutely incomparable, but the contrast effect occurs according to a greater extent than the factors apart from the contrasting moments are the same, provided herewith a stronger or more undisturbed mental relationship is mediated between them. c) For successive impressions of the contrast effect can manifest itself only in the second, not the first. From the circumstance b) depends on that aesthetic and non aesthetic contrast effects though such sounds in the areas of color, but not between colors and sounds occur, and a bad picture though to can the more displeasing to us when we are dealing with a good image, but not if we compare it with good music. For an explanation of c) the memory can serve that a break in a noisy music can make a strong impression of silence by their contrast with the previous noise that would have been lacking without the prior noise, but without a greater impression of the previous noise to feed back. Our principle may suffer apparent exceptions. If I enjoy a sweet dish that tastes me good, and after an even sweeter that tastes even better, yet the susceptibility will be

blunted already in some way by the antecedent enjoy the less sweet, and the second enjoyment by the precedence the first not grown weaker, but have decreased, but that is a thing of the dulling complication of the law with the law of contrast. Did I leave precede an equally sweet instead of enjoyment of a less sweet dish, so the weakening of the second enjoyment would have been even greater, not only because the blunting would be even greater by the first then, but also because the contrast would remove , and was only preceded the sweeter food, then the increased blunting would unite with the contrast effect for so large weakening of the second enjoyment. A corresponding analysis of the results will be needed everywhere, when a weaker and stronger pleasure to follow in one direction or the other. An aesthetic contrast between our own pleasure and the pleasure state of another state, and between our present and a past or future state of pleasure can be mediated by the idea that we have of the condition of the other or others of his own lust state time. In this case, win or lose, we generally want to, according as we desire that we ourselves have, compared to a small or large like the other, or the pleasure that we have now, with a greater or lesser desire, we have had Compare, which can be easily translated into a corresponding set of displeasure. Even with this law but complications account must be taken, especially as such can depend on love or hatred towards others. After this contributes to our happiness consciousness in that we are happier than others, and we feel our misery less with respect to the even greater distress of others, unless has a feeling of love or compassion towards others, what with contrast effect nothing to do , due to a conflict;, however we feel if we keep our less fortunate when we compare ourselves with happier, stronger and our misery it against the lesser misery of others. The memory of past suffering contributes to the happiness of the present can feel stronger to reinforce the memory of past pleasures, the sense of present unhappiness, only the comparison of the present situation with the past must be really drawn, otherwise yes you can also when the current has no pleasures, by immersion in past pleasures give more or less abundantly. 2) principle of the aesthetic result. From previous principle depends on the following. Comparing two cases that differ in nothing more than that the same inequality of pleasure or displeasure sources a, b occur contrasting in reverse chronological order, we find a large difference in the aesthetic achievements, if greater in the direction of progress from smaller to greater pleasure or of to minor pain, we call them short the positive, the whole desire result is greater or pain result is smaller than in the reverse negative progress toward what you do when you want, we can represent that through the positive progress towards a secondary desire, negative by towards a secondary displeasure produced, which increases the average result of the two cases, or reduced, or even may cause a reversal of the same. Here, the effect of the first sequence to the second source can either forterstrecken by conscious or unconscious memory. In any case, you have to in order to find confirmation in all circumstances the law, abstracting from the complications already discussed above, which is that blunted by

the first stimulus susceptibility to the second of the same sense in some way, for such a is increased from the opposite direction in some way. As easily seen, this law depends so together with the previous one. Whether that pleasure or pain occurs first, so they can not learn to the contrast-dependent with the following pleasure or pain enhancing or diminishing influence, but probably this is in the later occurring with respect to the incoming previously the case, provided that the above specified conditions, the contrast effect are ever met, which is assumed everywhere. Now precedes greater pleasure, and follows smaller pleasure or even aversion to, a reduction of the second pleasure or reinforcement of pain by the contrast with the first major desire is to take place, the result is reversed so the first smaller lust is unabated or first occur displeasure unreinforced, but the second greater pleasure enhanced by the contrast with it. For the purposes of the present law is that related to bids stimulants, whether sensual or higher mental, but in the positive to be used as negative sense of progress, not the stronger, but the weaker enjoyment is to anticipate, and that if someone something unpleasant and something pleasant to shew the former has not precede the latter. In the case of increase of a benefit agent, it is useful to allow the enhancement neither too early nor too late to enter, for an instantaneous or very short duration of pleasure leaves absolutely no substantial and sustained contrast impression with the sptern, however, a long-continued, albeit weak , enjoyment of a blunting or supersaturation, hereby establishes a success, which happens demolition of the ex post gain. In consideration of the above, you are on a guest times finer nobler tasty whose wines are not first but last, and only after verification by the lesser wines have for a while had its effect, however, it would not be advisable, those to the blunting of capacity for enjoyment of this to move, because then the poor wine making almost as much as the best, and thereupon the known expression of the cellar master at the wedding at Cana seems to have targeted. That make it a glass of strong noble wine as Madera, port wine, some places (as in the German Baltic provinces of Russia) even liqueurs receipt of the panel, has mostly only the secondary purpose to tempt the appetite, therefore, takes place also no repetition; sometimes gives way to the enjoy the charm of it so far from the rest of the wines offered at the table off to the same intervention does not significantly interfere with the contrast result. Count Algarotti had in Venice a number of paintings, which have now adorn the Dresden gallery, such as the main piece of the Holbein Madonna bought for the Elector of Saxony, and reported in his letters about this purchase 1) , "as pilgrimages, the artists of Venice to him To see this glorious work, and that he had shown them his Carlo Maratti's and Bassano's wisely before to them then how the Tokay-wine last is to dismiss with the sweetest taste in the mouth, with the sight of Maria Holbein . " So Algarotti brought here regarding an art enjoyment in applying the same principle, which is generally used for table delicacies, and makes even the analogy both cases asserted.

1) Hbner's

Introduction Delayed for the Dresden Gall Acc.

It could be someone the other for Christmas or birthdays once a smaller, another time to make a larger gift, but what a difference in the results whether the larger or smaller precedes or follows. Follows the larger, so the recipient will be pleasantly surprised by the accruals, followed by the minor, it is what is missing for the same major, so to speak, of his values even still pull off, and it may be that the result of such deduction sense of the value is above and beyond, that is, the receiver is angry at the reduction of the gift more than pleased with the gift itself. When traveling through beautiful areas does not generally speaking probably the most beautiful to visit first by each increment of beauty on the trip as income, any decrease is perceived as a loss, yes it can happen that after eating, the one from the front beginning had the most beautiful areas, you get bored on the remaining travel in areas that you would have seen in the reverse order of the trip with increasing enjoyment. However, it is gegenzuerwgen that it no longer reaches the most enjoyment with fresh receptivity when you move it to the last, and, where at all only important, a pleasure concentrated to have the greatest possible strength, you will rather have to start with the same, why you also probably are the rule when approaching rising to a beautiful view not likely to return, as is until you come to the best points, the probability can Help Us Overcome the enjoyment emptiness of rising to this peak of pleasure, while the re-descent Us is exhausted and bored, so that we as soon as possible would only be down again. In that regard, we are at all able, the delight of the freshest enjoyment thereof to move that we take up with a new freshness with other heterogeneous, the rule is to start with the most enjoyment at the same time and stop, be in the right, but mostly we are compelled in the same circle of aesthetic effects to remain more or less, and then the progress in the sense of increasing the desire will always earn in preference to the progress in the sense of reduction. The convalescent patient, who turned out helping out his poverty arms may still be very sick or poor and hereby are subject to the terms thereof displeasure conditions, but that it constantly accompanying feeling or consciousness that his respective state is better than the former may be accompanied by a desire which the hanging of those conditions displeasure not only compensated but about offers, however, the consciousness or feeling of Krnkerwerdens, the Poorer becoming a corresponding increase secondary displeasure carries. 1.Aesthetic principle of reconciliation. Only be regarded as a special case of the previous principle, is the very important principle of aesthetic reconciliation, which explained in this way. On the previous laws to compensate for two stimuli, one of which to be just as pleasurable factor than the other pain factor, but not in its aesthetic effect when they act as one by one, that their contrast may come into play if, according to their sequence a secondary grows pleasure or displeasure in excess of the average result; yes it even a pain full se appeal by a following weaker se delight in virtue offset or surpassed this secondary

effect, provided only that the pain stimulus is not of too great intensity or duration was. The total cases now where a cause of pain presented by a following or a successoriented, thus contrasting the cause of pleasure, the aesthetic effect of compensated or over-compensated, will we comprehend short general description only, with the expression of aesthetic reconciliation, though so far this preferably expressed only in the higher areas of aesthetics, art theory in particular, has been applied. It is namely the ordering for the Arts difficulty to keep in circles sheer delights, as such not easy to apply, irrespective of pain stimuli, and the requirement to prevent the blunting of the susceptibility for a continuity of delights, one of the most effective tools of art is in pain sources in relation to sources of pleasure to be so arranged that the principle of aesthetic reconciliation comes into force, and determines the overall result of the impression with lust overweight. Examples of aesthetic reconciliation, if a disharmonious chord is resolved by a harmonic or a us participate in a novel inspiring hero is guided by unpleasurable itself vicissitudes to a happy targets. The same chords or events in reverse order would rather carry a full pain as pleasurable effect. Well, not everyone can disharmonious chord resolved any harmoniously through each another narrated pain full event be reconciled by the fact narrated any pleasurable, but here comes the (then) conditions listed second of in Mitrcksicht what a contrast effect according creates lighter and stronger, as the psychological relationship apart from the contrasting moments of equality remains more points of contrast between the factors. In fact close tragedies as well as many novels instead of a pleasurable rather a sad events from, and yet we can thus find ourselves satisfied in whole, but it will only be the case if they truly propitiatory moment with regard to the divine justice, or justice the world order, confronts the sources of displeasure with penalties that include, otherwise the desire that we may have found at least in the study of the turbulent events and the conflicts of the characters, finally leave a unpleasurable aftertaste, and a sad conclusion without any moment of reconciliation remains even against the rules of art. Add provided a metaphysical impossibility appears to be that at all sources of pleasure without those of displeasure in the world exist, one can notice that the world order same principle eventual reconciliation, what art complies, does not comply with less, at least it seems every way, the is not a pessimist. A symphony in which a disharmony after another dissolves, therefore is the most beautiful picture of a world order as we may believe that it is on the whole, after we can observe the tendency already enough in our narrow experience circles. Very much can be supported the aesthetic reconciliation of displeasure success through the anticipated (associated with the later to be considered principle the idea of pleasure) lustful imagination of the future like success, so that the eventual reconciliation only as the finite completion and the full realization of an already partially through this foresight resulted in compensation, which not rarely even goes to the overcompensation appears. Thus, the hungry or thirsty by the foresight of the pleasure feeling the stilling of hunger or thirst are already reconciled during the

hunger or thirst even with a moderate degree of the same sufficiently to compensate for the pain, so look forward to his hunger or thirst, and the lust of the finite stilling of the same feel, while the finite failure of hemostasis by the failure of this foresight is just so full of pain just as the conclusion of this reconciliation in a recent increase. So we rely on works of art according to the general purpose of the arts in general already ahead that all brought into play to be unfavorable impressions of a satisfactory solution go to meet and reconcile them through this already directly, making it possible that we even works of art despite the underflow of such can track impressions fortgehendem like obesity, in the absence of eventually reconciling Abschlusse but to remain unsatisfied about it.

Xxxviii. With principles of summation, exercise, blunting, habituation, supersaturation.

Everyone, including aesthetic appeal requires a certain length of exposure, before its effect is even noticeable, which can be regarded as a success of the law of the threshold, provided that the effect of the stimulus add up to exceed the threshold only up to certain limits and the sensitivity has to be voted for its inclusion. Also, the impression is growing steadily even with constant stimuli up to certain limits, which we may call the the rising action, the duration of the effect. The highest level reached so that the impression we briefly mention its full strength. If the effect of the stimulus in the period of ascent, before reaching full strength of the impression, interrupted to begin later afresh, as a aftereffect transfers it to the second effect and shortens the period of upgrade it if both effects not too far apart in time and the aftermath of the first effect is not canceled by falling between effects. In many cases, however, the era of advancement of the effect can pull together in such a short moment that is equal to the first impression appears to be the strongest, so it is often even inclined, freshness and strength of the impression to keep solidarity, what it is not generally and, in all strictness even nowhere, can be regarded as correct. For what may arouse pleasure or displeasure through its effect on us, an indivisible moment of exposure is not sufficient to trigger it in full or only in a marked degree. Yes, there are cases where a longer continuation or repetition of the stimulus or often an exercise in view of the same need to bring the impression to full strength. In particular, there are finer and higher impressions which we. Either in their first encounter still in the first moments of their effect, wofern not sufficient exercise is preceded most affect us by the attention it excited the uptake must be exercised only in relation The concept of exercise in view of impressions but is that subtle modifications to or higher relations in a given area, the finer the same view is facilitated by continued or repeated attention. Without previous exercise therefore miss the people a lot finer and higher aesthetic impressions, however, it can bring a sufficient exercise meaning that the feeling gets even very subtle modifications and improved relationships in the first moments seemingly immediately to full strength, he is able to obtain any .

However, it can be increased beyond certain limits of aesthetic, whether lower or higher, impression by extension or repetition of its external cause, short of the stimulus, never.Rather, the stimulus travels after entering the full strength of its effect continues to act in the same or a similar kind or to repeat itself, and has restored not by a long meantime, the original receptivity significantly, then reduce the impression of what you as a matter a blunting of the rule of concep called, which is all the more stronger and occurs more frequently and is ever lasting and ever greater strength in the impression. As a peculiarity, but you can here observe that strong aversion stimuli are relatively less easily and quickly dulled by time or repetition, as a strong desire stimuli, although some extenuating accustomed himself to enter on the former does not fail, however weak or moderate pain stimuli is just as well, only gen-erally can dull indifference to in a long time, as an equivalent delights. Over-all pain go stimuli in the manner of compliance with the laws under consideration here, the delights not quite parallel. For example, let the pain of a toothache, to the extent a comparative estimate is initially not more than the desire of some sensual pleasure at all possible, it is nevertheless certain, that if the stimulus that the toothache, and the stimulus that causes the sensual pleasure, whatever it may be, equally influence continue, the will last long since dulled out or supersaturation during tooth pain up to certain limits, the longer it lasts, always obnoxious is by the period of freshness is preserved long. But it must be a man to endure, so he gets used to it to some extent as to the same, that he tolerates it better than before, and as with any other pain stimuli. One may wonder to what extent the same is true of sensual also from higher sources of pleasure and pain. In a graceful games or serious, but you can still promoting intellectual employment in consideration of the changes which they enclose, remain long with pleasure, without a blunting is very noticeable. But whether it was that the lust generally is subject to the slight blunting at a disadvantage compared to the pain, so the pain is to partly at a disadvantage against the desire by the fact that not only are all conscious trend, but even the most (according to our faith only higher than human conscious) tendency, which reveals itself in the teleology of nature, then going to get the sources of the desire to multiply, and move to prevent the dulling, here against the reluctance to reduce and eliminate them. Serious questions as to the general, which can be even raise the economy of pleasure and pain in the world that can not be discussed in detail here, of course. For a sufficiently strong influence in proportion to the period or in relation to the strength sufficient duration or repetition of the action of a pleasure or pain stimulus, the weakening of the initial effect even go to the envelope in the contrast. But there is such a turnover less easily with pain stimuli as delights, where he over-saturation or self-disgust is called, is not to achieve in many Unlustrei-ing, so far it but that is the case, not, as with delights, by gain a certain degree also, but continuation or recurrence in low or moderate degree attainable. These differences in the behavior of pleasure and pain stimuli are in fact recognized as, however, a specific explanation

un-disputed only from a closer knowledge of the psychophysical basic condition of pleasure and pain and establishment of our institutions could emerge regarding it the same, as is our command. That by even such large gain, so long continuance, nor so frequent repetition of the cause, which causes a toothache, or the people who dislike one concern is the reluctance effect thereof could ever run into a pleasurable effect, will not accept, but lack of examples of not quite envelope even with displeasure sources. Tobacco smoking makes each initial reluctance, after frequent repetition, it makes you want. The bitterness of the beer mibehagt most children, after frequent drinking can contribute to the amenity of beer enjoyment. The unlucky taste of the wine in Greece adopts by storing in gepichten hoses, disgusted at the first drink to every one, here is against the missing of accustomed to it with pain. One must from the fact that a stimulus by prolonged exposure changes his impression not conclude that the triggered by the stimulus in our root cause of pleasure and pain, of whatever kind it may be, change its value to the sensation by its duration, but rather that it changes itself in that it is still triggered by a continuous constant irritant in decreasing strength, after which, here marked in relation to the stimuli as external causes of pleasure and pain law on the last basic cause of it can not be regarded as transferable. At each interruption of the duration of action of the initial susceptibility is completely or partially restores or enters back into an earlier stage, and thus repeated impacts interruptions assume every new action is one to some degree refreshed Empfnglichkeitszustande countered machines, the However, at relatively rapidly repeated exposure never leads back to the first stage of freshness. Pursuant than a delight continues to work longer or more often repeats occurs without thrive to supersaturation, and according as the point of supersaturation is still distant, a need of the distant continuation or distant recurrence in the way argues that a reluctance arises when the continuous effect is interrupted, or the repetition or not is rare, yet without the continuation or repetition of the same pleasurable effect as in a state of freshness expresses what can go so far that they only zureicht to prevent the occurrence of pain, without creating positive content. Accordance with the other hand, a pain stimulus longer continues or is repeated as more often without flourish until the points of the envelope, success occurs that already suffices the elimination of the pain stimulus, positive desire to awaken, while the effect of the same not equally strong aversion than initially may cause or even to jaded indifference. These two successes, a delight that is by frequent exposure or repetition in the manner indicated on the need, and that a pain stimulus is thus easier to bear, they are dealt together with the expression of habituation to the stimulus. But can habituation in a further significance to stimuli that are indifferent from the outset, taking place in the way that continuation or repetition of the same they can be to need by the organism gradually establishes it. Countless pleasures and conveniences, first commanded us positive amenity granted, we get used to the way that we miss with pain when they fail us, without

their existence but grants positive pleasure; conversely, to some only as unpleasant, influence, as, for example, stay in the bad air, in such a way that we no longer feel the inconvenience but feel it with pleasure if we once in better conditions, better air, come. If the action of a stimulus flourishes like to supersaturation, so the effect of habituation occurs, carry a need for continuation or repetition, not only not one, but it can also itself an already occurred habituation be temporarily or permanently revoked. What a surer way to prevent habituation to a delight or cancel an existing, it is that one exaggerates the stimulus, as that eludes him, only that the exaggeration often can not be done without permanent disadvantages, and not everywhere a later reawakening of older habituation protects. It is known that pastry chefs use to prevent continued their goodies apprentices of the agent to let her appetite run wild from the start, where it then is not missing, that the same received by oversaturation with the candy soon loathed it. Also of the pichte drinkers will curse in a state of so-called hangover from drinking, and subsequently failed a long time, as he would otherwise have failed, only that in this case the old habit maintains enter sooner or later return to their rights. All times to get used to a fashion or a style of art so that they allow anything that is not in the same sense, and are finally satiated by exaggerating them so that they fall into the tendency to act contrary to testing. When pain stimuli, after the occurrence of the transition point, where one is to achieve anything, a new habituation to the stimulus as a delight and supersaturation enter a new envelope. Thus, the tobacco smoking only brings forth pain. With frequent repetition may instead occur by crossing the transition point like, then you can get used to that from smoking itself no or only a very reduced desire, the absence of smoking but feels a strong pain. But wanted to exaggerate the strength and duration of smoking, a new turning point would occur. To stay in bad air bemerktermaen you can get used to that but still feels contrast moderately pleasing than those without antecedent stay their minor inconvenience, entry into cleaner air. Very long stay in moderately bad air but can be exceeded, the transition point also lead to such a habit because we feel the loss of poor air unpleasant, just as some have become so accustomed to caged room air that they shy away from any opening the window; but the bad condition of the air should exceed certain limits, but the window would prefer to be open. In this respect an object can both lower and higher aesthetic impressions awakening, as is the case in general, objects of art, go to the conditions of the exercise. Blunting, habituation, supersaturation with respect to both parallel to each other not necessary, but rather are often, but not necessarily in antagonism, but it will be discussed in a case report in this regard in any detail here. Respect, we not only receptive (by the action of stimuli), but also automatically

activated can be pleasurable or unpleasurable busy transmitted, the last, discussed with respect to the first type of aesthetic employment laws to the second. The aesthetic habituation and exercise plays in all its stages an extremely important role in the lower as higher taste formation of man, and so far there are habits and practices, which relate to all ages and nations, in connection, and the taste thereof is determined in connection thereby. Over here, however, is traded (in XVIII. Paragraph) earlier.

XXXIX. With principles of persistence, and degree of change of employment.

1) Principle of inertia and the change in the type of employment. This principle is met by certain quarters with the blunting of habituation and, from the other side with the uniform combination of the manifold. Under the principle of blunting and habituation has been considered that pleasure and pain stimuli to slow through beyond certain limits (the freshness of impression) also prolonged duration in their effects and may turn into the opposite of action may itself, but apart from whether a job from the outset is pleasurable or unpleasurable, may the duration and the change in employment is a cause for joy or sorrow lie itself, which comes into play common ground in that principle, but because he was not on the effect of pleasure and pain stimuli is limited, yet need a more general expression, which we support the following principle under the above name. Be it an active or receptive, physical or mental activity in which man is conceived, so it requires a certain amount of time before the same in a constant train, ie a state is that is characterized by a constant or slightly oscillating sense of effort expended. If such a condition occurs, it is apart from the pleasurable or unpleasurable nature, which can get the job in itself, in the sense of pleasure, and also to persevere as long as not taken the job in the same way on such a boundary has, is accomplished by the active to the same performance with greater sense of effort, receptive same effect only more tense attention comes to pass. Against this it has to be changed in the sense of pleasure, nature and the body of the work, when this limit is exceeded. Contrary, it is in the sense of aversion to change them sooner or persisting longer therein by former carries the pain of failure or interruption, the latter of fatigue or weariness. And even before the pain of fatigue or weariness has exceeded the threshold, even when approaching it, a change of employment can assert with positive pleasure. An artisan, for example, can not like his work, a scholar in his study interfere, even if this problem by geschhe occasions that he would have preferred before the start of work, study, work, the study by the pleasure of persistence in the aging train once employment claims. Finally, the one as the other of the same type of employment, but is tired of it wants to no longer quite so, it calls for a change, and can be found, if not at all tired, so launched into something else. Thus, in general is not too long a period continuity still a rapidly entering and often repeated change in the nature or direction of employment in the sense of

pleasure. Insofar as it lies in the nature of most activities, to include a particular type of exchange or detaching modifications that associate themselves with a certain point itself, the above principle also applies to the interruption and continuation of employment in such a way as to link, repeat and follow the changes or modifications. Even when considering the principle of unified link of the manifold of any kind of employment is on the entering of the time need of the change has been noted herein and the encounter of the present principle is that. The rest equated enters the need of change of employment the faster one, the greater is their approach to uniformity, and intensifies the more so the longer she goes away in the old way after crossing the point where change will need , with the growing need of change but at the same time increases the reluctance of its nonsatisfaction and gratification of his lust. It may be the case that our for jobs at all disponible power is exhausted through a job a certain way that we feel the need, the preoccupation with the greatest possible rest or to let yourself go sleep, for which the next to be considered principle is decisive, in but if still need employment is left is generally true that the more fatigued we are the same, we are of a certain type of employment or per-weary, so a more diverse employment is a necessity. The continuity of employment in the same way approaches a frequent repetition in a short space of time and occurs at the same point of view. Who is tired of mental work a certain way, they may still like to swap with another type of mental activity, but also of intellectual pursuits at all be so tired that he was only to fulfill his or other employment drive, go for walks, gymnastics u . mglichstem like with rest of mental activity takes shelter at all. Who is pretty tired from active employment, is, if he ever is still employable, gladly spend the receptive employment through a play, concert, and the like. Now part of the daily life itself leads some exchange of occasions active and receptive, physical and mental preoccupation with themselves, sometimes we call such an arbitrary forth to protect us from boredom and fatigue. These changes hold this respect but in the lives of the majority in the main, within certain limits and in a certain character, repeat similarly day from day one, would be a weariness to make a fatigue but in regard to this general character is asserted and does really often claimed, but if not sometimes even some of the exciting new strange moments would come into life, would sometimes deliberately sought and created. This requires that such general addiction, something new to hear rare to see alien, where it is not essential that what one sees, hears, is in itself pleasing, it will be indicated by the charm of novelty, rarity pleasing, as long as it still appears to be new to be rare. Burke's study of beauty and the sublime begins thus: "The first and simplest movement that we find in the human heart, is curiosity leads. Among curiosity leads I understand the desire and pleasure, things which arouse in so far as they occur for the first time. We see the children in a constant movement to something to catch new and seize with great heat and with less choice

of the best first thing that comes in their way, every thing draws attention to itself, because every thing at this age still has the charm of novelty. But the principle applies equally for adults than for children. Even the half-bestiallooking Pastrana has contributed for this reason, to fill the Zircus Renz, where she was to be seen, and instead of nice children you do not see the ugliest monstrosities rarely exhibited in Meschaubuden. But one would like to Pastrana, but see the freak once, proof that just merely novelty, rarity the appeal of these attractions due, however, to one and the same beautiful woman, one and the same beautiful child not want to look continuously, not the principle of blunting fall prey, but like quite often, so prefer the more beautiful they are, look by having to make a sustainable base of complacency claimed as the charm of novelty. The saying variations delectat refers to every kind of employment finally entering and the charm of novelty generally conditional need of change, and the desire of his satisfaction; far but that need has its limits, and the cogency of the proverb has its limit. Because if every relatively uniformly Thither survivors pleased once something new to see, hear, yet anyone who has hung around for a while under ever new impressions, will finally want to come back in a uniform train of impressions and activities. So much pleasure makes traveling so much you finally returns to the monotonous life in the homeland, and who has exhausted all the pleasures and change the world, often ends up being a monk. However, this principle is subject to the conflicts with the terms, which can make the same apart from employment pleasurable or unpleasurable. If such from the point of view of the other Prinzipe much pain full so the desire of persistence, thereby slightly predominated, and we are looking at all the same to leave as soon as possible. Yet Many shows averse circumstances in which he has once settled in, even if they start to become uncomfortable to give up. 2) Principle of measurement and change in the degree of employment . With respect to the previous principle, persistence and change in a given species or a given area of employment is in close relation with the following changes with respect to size and in the degree of employment, and it can even the previous one by a sense of unity as the be made and variety of other ways from the subject to be discussed now, hence some respect to those laws used expressions such as fatigue, boredom will return here without yet come into the very last principle in the following. On the degree of employment gives us psychischerseits the immediate feeling active or receptive to the undrawn customer power, what common ground physischerseits a functionally related expenses living force of physical activity is one which is subject to the intellectual. The principle itself, to which it is, is this. The man is to be found probably, not only on a certain exchange between waking and sleep, but also to a certain degree of employment during the period of monitoring and periodic exchange between legacy and increase the quantum of the same dependent, and both a too much than too little employment in due course makes him pain. Is it too much or taken too much activity in a given time or too long continued

employment in relatively great strength, he feels the pain of exertion or connected handle being, whichever it is active or receptive employment, and finally the fatigue, is not satisfying his need of employment, he has the feeling of boredom or stagnant life activity. In so far as that soon this sense that soon this body of work may soon be busy soon, it may happen that in regard to the employment of this sense, this organ insbesondre a Angegriffensein, an effort or fatigue occurs on one's need of change can write in the type of activity, which has been considered under the previous principle, which still means the need is given to tone down the level of activity at all, but to deal only in a different way, until finally any kind of employment too much will. And when the need of change in the way the areas of employment may be subordinated to the current principle in this respect, yet not feel the need to remain up to certain limits, in the same direction and type of employment, what with the need of change is considered in connexion with previous principle. From other side, you'll notice that the view of a manifold the mind more occupied than the monotony, after which the tedium of monotony just so well done by the present principle as that of the unity and diversity-dependent, and even some aesthetic successes give both to this as principle that can be written. On the other hand can be the problem experienced by the complacency of the pure pull a line or a pure surface according to the principle of unity and diversity, do not write it that our activities would be ever too tense, because the perception of a painting to us in the same time much could employ stronger without that we find ourselves attacked it, and conversely the pain, which carries a strong effort to be in any particular direction not be covered by the principle of unity and diversity. So much to motivate the separate listing of this principle, under a concession that they do run out of certain factual side to the other. The aesthetic value of the quantum of employment but can now again be with the aesthetic values of the nature or content of the employment agreement or arising from this conflict and many successes. In particular, there is the notion of an immediately pleasurable or valuable in its consequences purpose, whereby the lust value of the quantity of employment can be increased, so the conscious direction of the activity on a single target at all already causes such an increase by the varied moments of employment by receive a ribbon, which occurs under the principle of unified link of a manifold. So one imagines, for example, in games, hunting very insignificant purposes, goals. Contrary, one can work, that would make us to their nature or their purpose sake rather pain than pleasure, but take the case of deficiency other wide event to employment, to just be active at all busy, and unpleasurable to be receptive emotions but in the strength of find a moment of excitement in the sense of pleasure, here when compared to the standing bids employment of their nature or purpose to do is to be pain full, rather than surrender to the boredom of employment. What level and change in the degree of employment appeals to us most, depends on individual circumstances the physical and mental power by which we are endowed by

nature and the previous use or non-use of the same from what we go into any detail. But still following general remarks will be room to give. In general we can say that man an unusually strong employment receptive to unusual heavy prefers active, unless a driving motive of purpose to the latter. There also needs to decide on an unusually strong work, in general, such a helping motive, however, is to indulge in a strong excitement, generally of such not only not needed, but even the unpleasurable character of a receptive excitement sometimes by can outbid the desire value of their strength. However, this difference only that the man in general to its bare preservation and completely to its prosperity so much more active demand as receptive employment, that he is considered the latter generally rested in the subject of the appeal as fresh and as more depends maybe . But if strong emotions to very receptive pile, you can be almost tired of it than of strong work. No one will probably deny that the reports of huge disasters, devastation caused by earthquakes, volcanoes, floods, storms, acts of murder, the more they take from certain quarters our compassion for thereby affected to complete, from the other side it read so dear be, depending Ungeheuerlicheres they report what just may be in a strong stimulation of the receptive excitement caused thereby, making the displeasure of the notion of the accident is outweighed, the easier the less concern to us the person concerned. Also you can desire the sublime, in so far as it depends on the degree of the familiar border size or strength of the, attributed to the desire for strong receptive employment. (See Section XXXII.) The cogency of Herbart Zimmermann'schen records that the strong pleasing addition to the weak, the Great addition to the little ones, the reverse is displeasing is, in any case limited to the conditions under which we prefer weaker ever more receptive excitations, ie on previous Ausgeruhtsein concerning receptive employment, whereas the opposite preference thus correlative, we give the weaker against the stronger receptive suggestions when we are fatigued by strong, does not occur under those laws.

XL. Principle of manifestation of pleasure and pain.

Outward signs that constitute the expression of pleasure and pain, can be either congenital way, instinctively, or through education, conventionally, be linked to the existence of pleasure and pain, and that there is for pure sensual pleasure and pain already the smallest child common instinctive characters in clay, lead, sign, while for higher pleasure and pain, as such, can only develop in the course of life, the habitual conventional use of language occurs. It remains common to all these expressions that the utterance of pleasure as pain in the sense of pleasure, a related thereto contradiction in the sense of displeasure, the first so increases the pleasure, the pain diminishes, which last the opposite effect, so the tendency to express his joy as his pain in the natural or usual form of education, however, the reluctance to behave funny or sad or to speak at all, when one is in the opposite mood. Each child cries and makes a face easily when it feels pain, and it would only

increase the discomfort of pain, lessen the pleasure, if it should suppress this expression. The adult has come by higher motives go, this natural ex-pression to suppress partly to limit some, but he also likes to talk to but out of his pain and his joy when the education is not even a habit has made him the expression of his feelings at all to hold back, so he also but the immediate pleasure, which depends on the expression loses. The beneficial effect of the expression of pleasure or displeasure of course subject to the principle of blunting and such, hence the finite legacy of the utterance, but which can go about restoring the susceptibility of a new statement. In case we encounter the expression of pleasure or pain from the other side, the following comes into consideration. In general, the man is so arranged that the mood of his surroundings easily transplanted by the expression on him when he is in a state of indifferent, and the susceptibility of the mood in question does not lack it at all. But if he himself already voted in the sense of pleasure or pain, so the tendency or effect the transfer of the mood of otherwise complicated forth with the unanimity or of the conflict against the already existing mood. Funny is the funny voted, his desire is conveyed through a fun environment from the double point of view that to the one he already has, up by transfer from the environment adds, and that this increase in its agreement with the one he has already proves what we call as the last formal, as the first substantive effect. However his lust is just as impaired by a sad environment of double points. In both cases, the objective with the formal effect goes in the same direction. On the other hand arises from the sad both when a conflict between two directions, unless berzupflanzen of a fun environment like him, hereby reduce its displeasure, sought, but it awakened in him by contradiction with its already existing mood pain, a sad environment but their unanimity with his mood suits him, but the more it sunk into his sad mood. According to circumstances, the formal or substantive effect can prevail with him in the sense of pleasure or pain. In general, however, maintains the formal first to predominate. Because of the substantive effect prevents a person who is not himself in a sad mood, like a sad environment and is easily disturbed by the actions of others, but can still delight in a song or a music that express grief, find, without that they serve to expression of a truly contemporary own or other grief by having the idea of such as all possible. Then he likes such a song or type of music by virtue of the formal effect of the combination mood of the expression with one of the mirrored mood and by virtue of the musical stimulus to the more, the true and intimate to him by the expression of not just existing sorrow seems hit and it may not appeal to him a sad song with the same art of expression due to loss of complication with a factual displeasure effects less than a cheerful. Considerations below; Ever the previous, only slightly more general assigns what is already said in Th I. on the impression of the music.

XLI. With principles of secondary imagination pleasure and

pain.
You can imagination pleasure and pain in a double sense understand. It may, after previously discussed principles of certain proportions of ideas than those of unanimity and truth, unity and diversity, etc. desire from the opposite conditions the same aversion arise primarily where pleasure and pain is not provided already as finished, but so to speak, only by is finished. But it can also arise from ideas shareholders or foreign, past or future pleasure and pain secondary pleasure and pain, as in hope and fear, compassion and sympathetic joy, love and hatred, proves, and from this source of pleasure and pain is folgends traded are after is more of the hidden role played by this source of pleasure and pain in the aesthetic association earlier (Section IX). traded. But here we do not have dark, fused, but clear ideas of pleasure and pain in the eye. While one can now deny that pleasure and pain are ever abstract to imagine what we want to support themselves in a certain sense, without dropping the pure concept of pleasure and pain, therefore, depends on the fact that in our following considerations nothing. Be pleasure and pain only including or participation of something they linked to solidarity with it, imagine it comes folgends only to that which depends on this participation of the idea, so nothing prevents it would be only for brevity to speak of conception of pleasure and pain held notion of a lustful or unpleasurable state or success. From the outset, then one might be slightly inclined to think that the idea of a pleasurable state or success, so what do we call the notion of desire at all relish the idea of an unpleasurable state or success is unpleasurable, and then we would be a very easy have resources to put ourselves through performance or achievements pleasurable states in lustful state. But not only that this means in reality holds little random, as it is also contrary to that we are just as much to past happiness with pain, that it has passed, as with pleasure that we enjoyed it, remember, and the lust of another can just as well take the pain of envy than of pleasure in the idea of shared joy. What the proposition that the idea of pleasure is always pleasurable, of pain is always pain full, is not easy to admit. Meanwhile, this set contains a real basic factor which submits to the general psychological laws, that any notion of a certain sensation respectively, of the circumstances which have such carried for us, the more reliable calls a accents of this sensation into consciousness, more vivid, the idea , however this can stay with accents of vivid imagination is not sufficiently below the threshold. This is then also the idea of pleasure and pain, and proves reflected in the fact that our imagination generally speaking rather pleasurable as unpleasurable states imagines, whether they correspond somewhat in reality, and man just as generally speaking rather joy than sorrow to be seen, even if he is not personally interested in doing. Yes, the aesthetic principle of association has to be based on much that the association of the Lustful

solid or pain is itself pleasurable or unpleasurable. But besides this, moment, what I call short so another factor is essential to consider what I will call the notion of positive or negative upholstery of pleasure or pain to us, or just the reference moment of conception pleasure and pain, a moment what can just as well be in the same direction as absurd to the base moment, and usually provides about its performance, so that generally speaking, the existence of the base moment can only prove in the above-discussed predominance of a certain sense of aesthetic success. The law or principle, to what it is like, is this. Able to think of our own desire is pleasurable or unpleasurable, depending on it outweighs the positive point of view that we have had it, have, have to have, or negative, that we no longer have, have not yet, do not have can not have what I need now give the expression, whichever we think in a positive or negative UPHOLSTERY to us. In accordance with displeasure in inverse sense. It at all depends on the desire of hope and the pain of fear, pleasure zuzuschreiten a pleasurable goals, and the pain is a joy to fail or the same to be inhibited in reaching the pleasure of anticipation and the pain of not Expect skills, the desire of memory to genossenes happiness and successfully endured suffering and grief that a fortune was gone, just like pain, to immerse themselves in the past suffering, finally the facile exchange between pleasure and pain with memories of pleasure or pain, we call elegiac, when the displeasure reconciled by a preponderance of pleasure. The basic idea of the moment, pleasure and pain in this case makes it only maintains that we still find more enjoyment in it as a whole, to remind us of the joys we have had, as the suffering that we no longer have. Although one might want to say that this arises from the fact that with the lustful imagination, suffering no longer have that pain full, they have yet had, easily auftrete conflict and change, and the enjoyment inferior, and it is the Actual them can not deny, but just as well may with the idea to have had a stroke of luck, the idea that there no longer have to occur in conflict and change, and reduce the consumption, but preserves the movement in fancy ideas last case an advantage over the movement in displeasure ideas first if expected, which should allow no other explanation than that fancy ideas are in themselves in the sense of pleasure, pain perceptions in terms of pain, would while not sufficient by others this principle, the possibility of pleasure in the remembrance of past suffering at all to explain. One can easily find at all apparent contradictions to the previous principle, disappear at something closer inspection. We can quite well without discomfort remember that us this or that source of pleasure is denied, that is negatively UPHOLSTERY to us, but then it is either for us no source of pleasure, or their achievement comes into conflict with the conditions to which the positive preservation of our state like the rest founds, or any other overriding desire conditions. Whether at the thought of our own past or future pleasure or pain, the positive or negative reference is predominant, is generally dependent on determinants that are in our other performance groups, and can be an ascendency of these determinants over

non-force, so the luck of the imagination like no force. If we know that a desire for us is not available, then, the positive idea regarding that we will have, not argue, and we are ever conceived in the course of pain full of ideas, so too the notion of past happiness is easier with the pain, that we are nothing more than the desire that we have had to add this course. The fact itself, however, that it is us pleasurable to hope than to fear to favor at all the positive from the negative UPHOLSTERY of lust, makes that we those really generally prefer where no or only relatively weak counteracting moments are present, encourages our hopes determines our drives, and plays an important role in our religious beliefs, as we generally prefer to believe what we most appeals to believe, so long as no overriding opposing motives make up itself felt, even strong theoretical counter designs can be outbid. While there is melancholic and pessimists, who see everything black or prefer to believe in a bad world order. But when the melancholy notions of his unpleasurable subjective sensations are infected with, and the pessimist is, mostly by sad experience that it was homemade or preferably taken his attention, led to his unfavorable view of the entire corrugated order. If both is a conflict in which the basic idea of the moment desire draws the short straw. Is it the idea of pleasure or pain of others, undoubtedly complicated psychological factors come into play. Part of the basic moment of imagination pleasure and pain, by virtue of which we all prefer happiness than unhappiness see around us, some of the consciousness or feeling that our weal and woe related to that of others, in what way the law is that we desire and respektiv displeasure at the pleasure and pain which have whose existence is one of our own lust conditions reversed with respect to him whose life is one of our displeasure conditions, emotions play their role in love, hatred, revenge. Finally we can in earlier in subject manner (Section XXXVII. Pts 2) employ the contrast of our pleasure or displeasure with the larger or smaller pleasure or pain of others in such a way that it shows a secondary increase our own pleasure or displeasure. What is the fancy way to explain Some of the cruelty? One can use the Cruel spoiled the other appear only in negative UPHOLSTERY to himself and his own sorry state loose in contrast with it, but has not spoiled the Cruel itself, the other has it. But maybe it is not much to this, but secondly, here comes the desire for strong receptive excitations, which we talked about earlier, into consideration, so that it may cruel people who have found their pleasure without hatred and revenge against the torment of others.

XLII. Principle of aesthetic center.

If an item random variations in the size or shape is subject to our intuition, it seems, other things being equal, the average value sthetischerseits preferred, or appears with the character predominant agreeableness than normal value against the other, however, this pleasing according to their deviation from the mean less and when exceeding certain limits can appear displeasing. I certainly do not believe that this is exactly the arithmetic mean normal value, but the value of the deviations are so less frequently, the bigger they are in the same ratio,

and the I in 33 Section I envisioned as a normal value when viewing the painting dimensions, however, can be not sure prove, and in relation to the whole scope of the deviations are both (since then not at all distinct) values are always close to each other, so can in some objects coincide remarkably . So let's leave the question of little practical interest for the exact mathematical certainty of to comprehensive as aesthetic center, value at page by just in general we are based on it, that one, if not to be identified with the arithmetic mean quite, but close to it because are underlying value, which are more pleasing than the deviating values under the same circumstances. In this respect the values according as they approach our middle, are also more common, and therefore to our intuition often offer, this principle falls at least partly with the principle of habituation, and it asks itself whether it made not entirely depend on can be. Difficult to be obtained in the full clarity on the relationship between the two Prinzipe, and yet because the current would form a particularly important and peculiar main event of the principle of habituation, it seems appropriate in any case, highlight it as a special. In particular, it is important for assessment of the human beauty, but to draw the following conflict in this regard. It may be the case that certain benefits are often associate with a top or climbing under the mean value than with this yourself, or approach to it, and so that this, this makes sufficiently argued in our experience, linked also to the principle of association of aesthetic preference Instead of what is above or below the middle, as in this itself Generally seem to have to be attributed to our principle that we some mid to long for each sex between and lean too short, too thin, too thick, and greased molds like best, and the aesthetic preference of the Greek profile before to be based profile with hawk nose like blond-haired with it. The size of the stature anlangend particular, seems to us a certain average of the adult man and woman in general than the normal size, and we like a better person in so far as it has this size, as far as it is larger or smaller, and only has the deviation from Larger an advantage in front of the deviation into smaller advance than we in the way vorhandner proportionality of the form of the great figure and the idea of a greater force or power, here to tie in with the smaller the idea of a smaller, but not enough, the back, to let the gigantic size of a man seem alluring because in further deviation from the center of the Miflligkeit from the bottom of our principle gains the upper hand. Meanwhile prevents not think we quite liked even see a giant like dwarf, if such can be seen even run after that to pay for it, the more so the more one or the other deviates from the normal size, one can say that the hlicherer thereby without you but can not see a contradiction to the principle of aesthetic center in it, because we want to, as before (Vol. I) has been occasionally asserted, but neither giant nor dwarf size at beautiful human persons ever see, and according as they repeated the charm of rarity and novelty is lost, however, we require the mean size at least approximated to every beautiful person again. The taste for giant and dwarf size is in fact just a favor to the rarity and novelty of the greatness or smallness, not this

itself So to say the benefits of the ideal human form but leave the center. A face angle, which approaches the right angle, like it better than the average among those that we have in mind.An eye, which is larger, a mouth, a base that is smaller than the middle, in an aesthetic advantage. But not because they leave the center, but only if they sign from a higher nobler, finer, more ideal constitution are us, are thereby that we are used to see them in connection therewith.

XLIII. Principles of economic use of funds or the Least Action. Question about the most common reason of pleasure and pain.Principle of tax collector. Principle a tendency to stability. Herbartsches principle.
If I, as a principle of economic use of funds designated, principle last digit, so it is not because I consider it the least important, but because I was the first made last and that of the other hand, as to one main attention , and there the previously discussed principles can not be subordinated to casually anyway, so I add it the same still added with their own words, the me about Professor Vierordt in Tbingen in the course of, related significantly to other things, correspondence with occasional reference to the first part of this preschool are provided to you, and I love writing, by reason of which I also take to make some more general. "In the way of introduction prepared and very cogently motivated principles I would like the know" added the economic use of funds "or whatever you wanted to say otherwise, and the more so as the same especially from the standpoint of natural science and an objective real analysis of art objects is completely justified in their writing about the Gehwerkzeuge Gebr weavers have in several places. 1) demonstrated and with striking examples that the aesthetically beautiful as a whole and the physiologically correct one, that the two coincide, that always the impression of beauty (light, informal, outdoor) makes what is achieved with the least possible expenditure of muscular power. "
1) In

particular, the preface S VII in a particular passage speaks chose from in this sense. F.

"So would any work of fine art, each poem etc always must use only those means which are necessary to achieve the purpose. Becoming more, not absolutely necessary, when used in itself as legitimate means, so such a pleonasm acts tiring . poems there but, as the song Mignon, of which one must be said that not a single word could be chosen differently in them, that is, the chosen words really are the best. " Common ground can this principle of double points summarize. In fact, it tells us himself, much to pay the lowest possible power Aufwande, and so will we also like associative to the observations Th l, homemade, made with little Aufwande much to

look towards us, but there are also objective performance of type usually require at least a lower internal (psychological and physical) effort to be conceived, understood, followed, and so far fallen by a direct action, how well would run on. Now, one might think, to put this principle to the top of all aesthetics, by all pleasure and pain ever made dependent upon him, and when Vierordt itself does not go so far in highlighting the importance of the principle, it is likely, however, in the sense Avenarius be that in an interesting pamphlet ) 2 has made under the name "principle of Least Action" at the top of the whole philosophy and it took several opportunities, the same principle to set displeasure reactions in job areas with this principle in the relationship. Really likes this principle even in some of we have studied so far, is yes ever so often intertwining, playing his role with principles and in the meantime it seems to me the following to prejudice, to make a fundamental principle of the aesthetics of it.
2) philosophy

as thinking of the world in accordance with the principle of Least Action. Prolegomena to a critique of pure experience. Leipzig. Fues's publisher. In 1876.

That it ever liked us to take the lowest possible power, can not say, but only relatively small in relation to performance of restriction. And so it would apply to a fundamental principle of aesthetics to bring this relationship to a clear point of view, namely such that not only the relationship with their object services, with which we are so not every pleasure and pain, but of all cases the origin of pleasure and pain under realizes what is not in the saying of the development and of the principle, so far it has progressed so far. So of course this principle will have to be dropped as the other previously discussed as an aesthetic principle, only be counted among the others, however, have something in common, just not yet clear and remains securely fixed Exposed actually Counting in all the. Cause we here about the Th l made brief remarks from a little further. Some are looking at all the reason of pleasure in the fact that everything that our strength increases, increases our life process, or the development of our system encourages, gives pleasure, however, that the power of the life process depresses the development of the system inhibits's displeasure. But this explanation is either unclear or untriftig. When approaching the bed, the living force of the whole body falls, including the processes by which the activity of consciousness is in operative relationship 3) , but linked to it no pain, what will be understood by those in power statement? The biggest pain is often most severe on us excited, how you close out of an increase in the activity of our life? Exaggerated delights draw on as well as a strong force in our lives suffering. What is meant by a further development of our being? Both the concept of development as the concept of our being here remains to be clarified, and how one may also try to do so, it will thus be no sharp or out compass-free answer to the question about the ultimate reason of pleasure and pain.

3) Comp.

Elem. the Psychophys. 11 p 442

Of vagueness and ambiguity in any case free is the view that tax collector in his comets beech (l ed 325 ff) has been prepared in connection with general views on the physical grounds of mental activity, which transformation of clamping force, potential energy into kinetic energy with lust, the inverse transformation is fraught with displeasure by the expressions are to be understood here in the exact physical meaning. In this respect, however, hereafter growth of kinetic energy would ever be associated with pleasure, with decrease pain, I want to keep this view as the above factual objections not withdrawn. For my part, I am inclined to believe - and more than faith can be in these things hardly speak - that of quantitative relations of the physical process, whereby the psychic is in operative relationship 4) , short of the psychophysical process, in principle, only quantitative relations the psychic can make them dependent, and that, conversely pleasure and pain, as qualitative determinations of a shape or form relationships of this process is to make them dependent, we still without knowing it, can be described as inner connections mood or harmony, order equal hineinzutreten in common terminology and presentation modes (see Section XXXI). As a music is neither size nor smallness, neither increase nor decrease the kinetic energy of the vibration process, after which they externally, and voraussetzlich internally based, loss factor, but by a ratio of the meeting and the return between moments of this process that the printouts of his nature, but just his pleasure-giving effect to designated is harmonious, but so much concepts is still in common of self-interaction voting ends or harmonics that there is no quantity ratio to what it significantly is there and I mean, the familiar term in this relationship is the right one.
4) That

such a relationship could ever be taking place at our question and declined it, is not to be denied, without that one is compelled to take this relationship one-sided materialistic.

That does not mean that quantity ratios here come into play, in two ways, even if they are carried by the essential for the emergence of pleasure and pain form relationships or those carry, express influence it or know about it, just in functional connection with the formal conditions of origin of pleasure and pain are, secondly, if a larger or smaller living power to enter into the relationship in question, and thereby, their quality is not dependent on the size of the living power of pleasure and pain but has a say quantitatively. So every unnecessary detour, every obstacle in the customary conception underway at the same time affect the inner causal atmosphere in which they existed too, and the consumption of living force in relation to the can increase that would have been achieved through the largest associations mood, hereby in terms of pain be, however, the greater consumption of kinetic energy in terms of a selfconcordant hereby beneficial idea Ganges in the sense of pleasure is. Principle or

fundamental but not always depends the question whether pleasure or pain, in this case the quantity of the activity set in living power, but of the form from where it is expressed. Thereafter, two aspects will ever be distinguishable from which a state of motion can be pleasurable or unpleasurable. From a certain point he will be all the more pleasurable or unpleasurable, according as he in on itself provoking, harmonious, or is more of the conditions of harmony otherwise, which may always exist, this ratio, however, there is a width of indifference between the two states, which pleasure as pain remain below the threshold. From another point of view, in another sense, however, pleasure and pain will grow or may decline, according as a stronger or weaker vital force enters into the harmonious or discordant relationship, and also from this side, namely virtue weakness of the living force may remain below the threshold. It is true that we may like better than a strong and sure like better than the strongest soft music. But it will be, because under the circumstances, the weaker harmonic to the rest of the system of our movement, and brings a too strong (like long-continued) move a certain way in a part of our system disharmony in the whole thing, because without influence on the form ratios of the motion can not be the same quantity ratios, but only through this influence, they will be giving pleasure or pain. Incidentally living force will be to refer to speeds higher order than the first (velocity changes, which may increase to an unspecified amount) when the psychophysics These things should demand at all. (Compare elem, d Psychoph II. 32nd) In each experiment a closer entering into but when these very general considerations, the nature of harmonic and disharmonic motion conditions can not be left undefined, so shall the question of the reason for the pleasure and pain on, and is fundamental to a psychophysical grounds around the aesthetics to which reason it has not acted in this document and could not deal with the uncertainty in these things. If you should require but to find the previous general considerations not quite floating in the air, that at least one possible view on the relevant aspect ratio will be as the ground of pleasure and pain, such an by me earlier in passing in the pamphlet been "Some ideas of creation and evolution of organisms' set, in accordance with a general principle, which I call the principle of the tendency to stability. About a few words here. In short I call with the expression "stabel" a state of motion, which includes the conditions of his return, so apart from disturbances really recurs periodically by the return to the first condition is also a return to the conditions of a new recurrence. Such a state can be considered not only from individual particles, but also a system of particles, and the conditions which are related to the individual and the whole. It may be that he is not all provisions of the moving process at the same time, but only those that relates or, I try to show in the above pamphlet that all the processes of the world aspire to go before reaching this state or to approach it more and more that all usefulness tendencies of nature this general trend can be subordinated to that individual thing fits into the whole and the whole of the preservation of the individual serves, if both processes together agree a stabeln

processes, and as finally point out that the de facto relationship, in the realm the conscious between braces, pleasure and pain is, could be such that in accordance with the approach to the stablen state over a certain limit like, depending on the distance of a certain limit displeasure stocks, while a state of indifference of a certain width in between would remain. Specifically watched a state of stability in our sense approaches to the more or is short so stabler, one for each regular period to comply with the movements of the individual particles, and the more closer the periods of the various particles of the commensurability between them; explanations, which admittedly is not saying all that is necessary to complete certainty, but may be sufficient for a general aperfu. Allows the harmonious and disharmonious state of motion would be explained as meaning that the continuous desire to approach the stabeln state with the former, which would referred to the displeasure of continuous variation with the latter name. With the desire for the harmonious state but is also striving to maintain or increase it by larger approach to the stability of the reluctance on the disharmonious state striving to eliminate him in solidarity. Depending on a limited or extended view of the consciousness ratios in the world is this functional relationship of pleasure and pain to the physical surface of the psyche to humans and animals to restrict or extend it to the entire system of world processes, but of which only the latter allows for a consistent, thorough education of the view. Each process in the domain of finiteness, which satisfies the conditions of stability for themselves, can still be in conditions of instability to other processes in the world, where his movements are incommensurable to it; yes as long as not all of the world processes the terms of the stability of fully sufficient, is no part of the process of the same such completely, permanently and in all relationships can be enough in itself, without remaining in instabeln relationships with other processes in the world, and thus subject to a tendency for mutual adjustment and hereby amendment, so that the benefit of increasing stability the whole can suffer time-setting of the individual, to the same by the demgemen changes to the stability of the whole profit itself takes part. But what then is the overall processes of the world in terms of its sub-processes, is also of the overall processes of the individual in relation to its sub-processes, except that the overall process of the individual still remains a part of the whole process of the world process. Herein are manifold conflicts between the terms of pleasure and pain, between struts and buttresses justified. Voraussetzlich includes the holding together of the imagination and the will to a particular use or employment by a uniformly associated manifold conditions of the stability of this underlying psychophysical process a, and where neither one is still Others present, occurs either to the pain of boredom by the own ideas of course not a band, which would bring them into a relationship stables, can be found, or the pain of a fragmented impression of the part from the outside aufgedrungener ideas. But even if the loss of most common feel is dulled soon, so be like this sometimes can write out that the available capital for the same vital force is exhausted after the establishment of the organism, partly that the unilateral employment through this

impression, so just a part or one side of the psychophysical system is put into a relationship stables, can fall into the same state instabeln way more and more and thus a desire to change jobs evokes. Although I believe that in the established view here anyway a, albeit more accurate determination of very needy, core of what is right is, I do not but on a more detailed discussion thereof and further application to the aesthetic conditions, since I view it but not their hypothetical to undress character and replace them with safe and clear derivations from the previously developed special Prinzipe and would be able to make unnecessary. Actually, we should continue to be in psychophysics, in which the question of the physical justification of pleasure and pain is, as we have before attempting such discharges could succeed, and he would have succeeded, we would indeed a psycho-physical aesthetics, but not have an aesthetic in today's sense, and according to current needs, which apart from the physical base of our inner states of mind and soul movements at all. Well I doubt, however, that even on a purely psychical areas recently linking point for the development of all pleasure and pain will be found that allowed a clear and sufficient discharge of all aesthetic laws thereof. But maybe is not complied with in Herbart's system needs this? Yet there is in psychology, a new train smashed, and is not even what we want to look at this relationship, on this track? For my part, I would be able to find it not for the following two points there. Herbart makes the emergence of the pleasure and pain of mutual promotion and inhibition ratios of ideas depends 5) , but he has not been able to make clear how the emergence of sensual pleasure and pain at this point occurs. Because if Herbart (W. Ges, VS 30) says: "The pleasant feelings in the strictest sense, together with their opposites [by which he means the purely sensuous] must be regarded as springing from ideas, but can not specify individually, so the perhaps physiological reasons not separately can be perceived, "said herein lies the one hand by itself an admission that the applicability of the inhibition theory stumble here on a dark point, on the other hand, physiological conditions that you want to see abstracts, but taken to help.
5) textbooks

.. d Psychol 34 and 95 ff ff (total W., VS 30 and S. 70 ff ff)

But apart from this I would be able me the most fundamental requirements and documents of Herbart's doctrine inhibition did not add to, as I can not find it compatible with an unbiased view and sharp analysis of the facts. At such points, I reckon: 1) That a majority in the consciousness of distinct ideas can not exist simultaneously, thus also of what lies in spatial extent at the same time, only a succession of point representations is possible. - 2) The fact that ideas from different sensory areas, so-called disparate ideas, each other apart from their complexions not to crowd, to limit the consciousness are able, eg in the existing astronomical observations difficulty or impossibility to beat a clock with simultaneously interpreted the passage of a star through the thread of the telescope, only the auditory

presentation of the complication Uhrschlages with ideas from the areas of visibility, such as the clock itself, if not to failure of physiological side, is based.- 3) The fact that dissimilar (not disparate) ideas which space or time points related to different, come together in consciousness, in accordance with its antithesis in the clearness of conception restrict rather than increase contrast default. - 4) That the division of attention between similar concepts in virtue of itself, each of which is less understood clearly on inequalities rather than to the location, and so on apprehending real division of power beruhe.-5) That a consideration of physical (physiological) influences is on the mental well so far but no further, drawn, can be pushed as in an unspecified manner to such influences, which does not fit in the pure ideation to previous sentences, without the functional interdependence between physical and mental activity throughout its whole extent, and to meet with regard to the whole experience. That Herbart with the formally most precise application, so the main application, which he made at all of its inhibition theory on aesthetic conditions, ie on the musical between consonances and dissonances 6) suffered shipwreck, you will hardly be denied. His-making on exactness claim conception and representation of these ratios, and this claim satisfying the same conditions the part of Helmholtz are in fact quite disparate, let no reduction to each other, and the Herbart'sche in their whimsical pretentiousness seems like so much disadvantage that by the way, continued to be built Herbart, Zimmermann's view of Helmholtz Herbart against simply has to drop.
6) Total

W. II p 45 VII p 3 216th

After all, so I think the question of a general ground of pleasure and pain not done by finding the other as it prepared Views inadequate, even on the hypothesis but that I myself set out for the safe grounds and clear feasibility not yet would be able demonstrate. After all, I believe I can recommend them to a distant consideration.

XLIV. Appendix section of the legal proportions of the gallery images.

1 Preliminary observations. I give this section as an attachment, because it concerns a rather aesthetically interesting subject, but that he himself would have a considerable aesthetic interest, although such was not quite lacking in Section XXXIII. One can namely to there considerations presented the exact average degree and myself so-called normal values of different images classes (genre, landscape, etc.) seen from the following, thereby convince himself that what pictures class one may envisage the ratio of the larger to the smaller dimension is on average much smaller than the golden ratio. Also, you might like to take some practical interest in how much Pictures given class (apart from the frame) is capable of taking a wall height or width, and in which average conditions occur images of various classes generally in galleries, on which all found data in the following .

Meanwhile, these points would have been by no means insignificant in the whole interest only to a so exceptionally complicated and laborious study of the proportions of the gallery paintings occasion when I turned it. But it appears this investigation into one, since a long time by me made, not yet completed, more general study on the legal proportions of collective objects (ie objects of indeterminate number varying according to the laws of chance specimens, such as those found in various areas) of which the artistic form a special department. But in this general study, the investigation of the dimensions of the gallery paintings occupies an important place, since the gallery paintings from viewpoints of which I speak under 6) appear to be suitable, before many other collective goods, a formerly 1) occasionally set up by me, and since then developed to serve theory about the general distribution laws of the dimensions of collective objects to the touchstone, and because they perceive a definite confirmation of the same, yes, I confess, to inform this investigation only reason for this, but performers very casual points of this type, because otherwise I perhaps not more they would come to tell, but it would be a pity if the results of an investigation, the effort hardly anyone would take away that were lost because its scope extends over the whole area of collective objects, whose legal proportions previously Sufficient nothing yet existed. Because one of Quetelett (probabilite in s Lettres sur la) established, seemingly very appealing, theory of, in following with the language coming, because the gallery images highly with striking asymmetric distribution ratios of the collective objects has, in my investigation is not only when the objects discussed here, but in general, quite incompatible with the facts shown.
1) In

the essay "On the output value of the smallest deviation sum. Leipzig. Hirzel, 1874." Pp. 10 ff Apart from that considerable aesthetic and this more significant mathematical interest, the following analysis can but also a more general interest thereby take advantage of that they secret a so to say plug end into the dimension ratios of the painting, with collective objects of very divergent natural joint, legalism draws to light that one of those products free of human activity should not assume in advance. In fact, one would think for the first sight, that the images sizes of such manifold, randomly changing, circumstances of the content of the space need, the subjectivity of the artist and otherwise contingencies depend on that might be of legal measure relations same at all out of the question. Against this is you might not see without astonishment folgends that many can quite generally valid as to testify to all the images classes, as some characteristic different for the different classes. Each class and division is by certain core values (M, G, C, D ', D) compared to characterize other, and we understand distribution determining how much Pictures of a given height h and width b given under a given large number of images class and division occur, in other words, as the number of a given type of images distributed according to their height and width, so show the distribution boards all classes and departments of the same main course of distribution, but specializes on the size and location of the main values in yea you can in the classes and sections well defined, as determined less constant (D ', v, v') from experience, calculate in advance how much Pictures of

given height and width of a given large number of expected the same are. 2)
2) The

mathematician, of course, thinks this is equal to the Gaussian law of random variation as normative, but this practice is established by Gauss version only for symmetry of the deviations with respect to the arithmetic mean, which does not consist in painting dimensions, and arithmetic (not proportionate ) variations, which you can not manage to painting dimensions. It can be but how to show under 6), make the Gaussian law applicable through certain modifications to our case, and the main purpose of the investigation is gone then, these modifications to determine theoretically and empirically to prove. As images classes I distinguish religious, mythological, genre, landscape and stilllife images, as in 7) are given in detail. In these classes namely the investigation extends, but have only been to a few provisions drawn from the reasons continue to be provided with religious and mythological. Are in each class but, as in 33 Remarks section to distinguish between two departments, namely of images in which the height h is greater than the width b, and those of whom the reverse is true, the former, the latter to denote by h> b, with b> h. Between the two departments are the after 4) rarely occurring square images, alternately, as they presented themselves, were equally distributed. 3) but are also from the aggregation of units of both divisions drawn provisions which apply to the h or b the same common .
3) This

is certainly correct, as it both to one another department entirely attributable because in a square set images but now one and now another dimension to something greater will be than the other, only that the measurement of very small differences ignored. After this now means, for example, h, h> b height dimensions of images, h> b, and also b, h> b width dimensions of images, h> b & c; finally Combin. or b Combin. h dimensions width or height dimensions of images of the combined departments h> b and b> h For a more precise evaluation of the following data are still some side information, which I 7) to give a larger part only in connection below. Initially, only the following. There are only gallery images as measured from the 22 specified under 7) public galleries or rather, given in the gallery catalogs, dimensions, going to the images size in the lights of the frame, used, and for the sake of comparability, all reduced to metric measure. As a unit of mass is therefore also invariably the folgends meter = 3.1862 Prussian. Foot = 3.0784 paris. Foot. For the surface area is hb 1 Qu meters Prussian compares with 10,156.Qu F. or 9,477 par. Qu F. Here and there is a hereafter a number! find attached, which means that it is striking without that control their destiny has led to a change in the same. 2) distribution boards and determination pieces of gallery images. Under a distribution panel I mean a table that lists by size occurring proportions,

and the extent to which any number of times it occurs accompanied. In my catalogs directly based on the original distribution signs everywhere exceed the dimensions of 0.01 meters (= 4.59 Prussian Lin, Lin = 4.43 par....) Before, but I give below tables showing the numbers of larger intervals, hereby for a majority of dimensional values, summarized. Looking at the original plates, so you can see the dimensions included in the figures given are so irregular according to their size follow that one would think, in fact, a rule is not to think. Sample I give a piece from the 'bodies responsible for such 775 copies in the whole distribution panel for genre h, h> b, so in the prescribed manner on the label height dimension h in genre paintings, whose height is greater than the width. I sample from the original distribution panels (Genre h, h> b). Measure Number Measure Number 0.29 30 31 32 33 34 35 36 37 38 39 13 15 13 20 21 9 17 13 22 26 8 0.40 41 42 43 44 45 46 47 48 49 50 51 9 17 14 14 12 15 10 17 10 12 4 12

etc So there were 21 images on the height dimension of 0.33 meters, only 9 to 0.34 meters, then 17 meters at 0.35 usf Similarly, the entire table for genre h, h> b represent, and provide all panels the other classes and departments represent what the claim that the distribution of the gallery images is subject to certain rules, seems to contradict directly. Meanwhile, changes things and take the tablets immediately a very different look at when summarizing the numbers of larger, but always the same, Maintervalle, eg instead of the number for each by 0.01 meters from following various measures especially perform, the numbers for all intervals of 0.1 meters height (= 3.82 Prussian. inch = 3.69 paris. inches) so for ten times the original plates, summarizes. Here are the so-reduced boards for both divisions of genre and landscape, and h> b of still life, which, for example, 133 height dimensions of genre paintings, whose height is greater than the width, in the interval of 0.2 to 0.3 meters

in height are included. The total number m of copies of each class and division is given below.Many figures in the table you can see attached to a decimal 0.5. This stems from the fact that numbers that fell on the threshold of an interval itself, half the half of divorced thereby intervals have been attributed to the other, what with odd numbers carries half a unit. Thus, for example, from the (so) of the given piece of original plates for Genre h, h> b is as defined in the preceding table number 161 for the interval 0.3 to 0.4, 0.4 and 127.5 for to 0.5 result. If you want the numerical values of h or b for the combined h> b and b> h have, so you need to add only the metrics for both departments. II distribution panels for genre, landscape and still life.

Mass Interval (Meters) , 0 - 0.1 0.1 - 0.2 0,2 - 0,3 0,3 - 0,4 0.4 - 0.5 0.5 - 0.6

Genre h> b h b b> h h b

Landscape h> b h b b> h h b

Still life h> b h b

0 30.5 133 161 75.5

5 88

0 23

0 6 38.5 78.5 75.5 86 34.5 63.5 36.5 26.5 29 24 12 19 9.5 82.5 702

0 2 17.5 26.5 32.5 22 41.5 25 8.5 20.5 13.5 10 6.5 7.5 7.5 5 36 282

0 8.5 23 53.5 40 33 21 13.5 20 14 8.5 9 5 2 10 9.5 11.5 282

6.5 66

1.5 18

0 0

0 4

190.5 90.5 167.5 109 62.5 58.5 31.5 18 21 8 10 2.5 1.5 5 2.5 2.5 775 79.5 65.5 40.5 28 33 17 25.5 24 11 15 6 20 702

200.5 90 278.5 166 257.5 189 219 165 139 79 93 69 45 36.5 28.5 19.5 29 62.5 1794 168 202

10.5 16.5 14.5 44 50.5 45 27 51 31.5 45 32 22

127.5 100.5 114.5 80.5

From 0.6 70 to 0.7 0,7 - 0,8 0,8 - 0,9 0.9 - 1.0 1,0 - 1,1 47 39.5 20.3 12.5

135.5 29 139.5 38 78 63

125.5 23.5 17.5 17.5 12 14.5 2.5 6.5 3 1 3 3 308

1.1 to 1.2 11.5 1.2 to 1.3 12.5 1.3 - 1.4 Is 1.5 1.6 Rest m 12.5 11 3 775 1.4 to 1.5 7.5

58.5 16 71.5 5.5 39 2 33.5 1 215.5 17 1794 308

It is seen that the distribution throughout much followed the same path. Everywhere there is an interval, we call it the main interval, which, highlighted in the pressure measure is a maximum, where the numerical values rapidly decrease to both sides, and that is the main interval the upper end of the table, which starts with the smallest dimensions , much closer than the lower, which closes with the largest values, but what would be even more striking if not the numbers to all dimensions than 1.6 meters in the lump were grouped together (as a group). This provides the board a particularly interesting example of a collective object of highly asymmetric distributed: It is seen that the values of the transition from the main interval on both sides has become a very regular approached. Here and there, however, as especially in genre b, b> h, landscape h, h> b and b, b> h, even strong irregularities take place, and the lack of nowhere with the small numbers in the lower part of the table, but it can assume that these would disappear completely or reduce it very much if a much larger number of specimens would have been at his command, as they also balance the more so in ever larger intervals to summarize the dimensions. One expects, for example, the measures of two consecutive intervals together, this is very noticeable. Yes stands a very large number of measurements to commandments, want with favorable determination, the classes disappear even the great irregularities, which (see above) show up in the test piece in progress size of 0.01 meters. A very similar path as the genre, landscape and still life images show the religious and mythological, except that in these classes remain disputed due to unfavorable summary including projected images, what 7) look up some very large irregularities in progress which are unlikely to be compensated by enlarged m, so these classes are not suitable for testing the distribution laws and are not so far been worked through by me than the others. Of still life b> h ever was before only to small for detailed investigations in this field number 204, so here Uregelmigkeiten have remained relatively stronger than that a full working through would have been worth. In consideration of this, I generally put in the following tables genre and landscape, than the most fully worked through classes that progress, religious and mythological images, as the least worked through, last. If you want a more accurate comparative characteristics of the proportions of the gallery paintings (or even a collective object 4) have, we must derive some values from the distribution panels, which I call determination pieces and what I am the most important, M, G, C, D ', D, unite as the main values in the following table under advance setting the number of copies m, from which they are derived. 5) Folgends the meaning of the letters and hereby the main values are the same for their term. Under a following explanation will be understood more generally, the dimension of the height or width of a single copy.
4)

It is easy to see that the following specialties I have the more general interest of the treatment of such items in mind when entering. The gallery paintings offer only provide a suitable example of the explanation of what it to look at all dar.

5)

The discharge of these principal values as all subsequent determination pieces is done directly from the Originalta-blades of the shape of the table I, not the reduced panels on the shape of the table II, because of the reduction, although the clarity increases, but the possibility of accurate derivatives reduces itself, in which the random irregularities have to compensate for the amount and direction of opposites.

M, arithmetic mean, by summing all of a given class and division, and division by the number m obtain the same. G, geometric or ratio means the value which is exceeded in the same (combined) ratio of larger dimensions and increased from kiddies to get so that you all a divides the sum of the logarithms of m, and the quotient, the number in the logarithmic investigated. Is mathematically required always slightly smaller than m. C, median, or middle value, the value that occupies the middle child in a place the size of the dimensions a parent row, ie an equal number, not M as an equal sum of deviations to both sides dependent on them. (Accuracy Half of me from each of the 4 intervals of size 0.04, where C is especially determined by interpolation, and the means of, in general, made little of each other conflicting provisions.) D, just densest value, ie the value with respect to which (taken not proportionate to, but simply, absolutely, arithmetically) the deviations are less so, the bigger they are, and about which, therefore, the individual values together pushing a densest, or in which the same small intervals is formed in the middle dividing the distribution panel, which includes the largest number of dimensions a, the irregularities of the distribution table while a balanced condition. D 'densest ratio value (in the 33 section lists the normal value), ie the value with respect to which the deviations are less so, the bigger they are in relation to mathematically by determined, that all a are replaced by their logarithms, the densest value of logarithms in the same sense and the same way investigated, as the value of D from the dichtste simply a itself is searched for, and the values thus obtained D log log D or 'D number' look in the log tables. Not fall exactly together with D itself, since the logarithms proceed differently than the numbers associated with them, but is always somewhat higher. 6)
6) However,

one could think that the out of the densest logarithmic values of log D 'found densest ratio value D' with D itself must coincide everywhere, because when accumulates in a distribution panel to a certain a is the largest number such that the a and D occurs, the same maximum number will also adhere to the logarithm thereof, after having brought all a their logarithms. But can you actually neither D nor D 'to determine the maximum number that a single value, the dista to finite differences of the next fall, but only from a connexion more, then where does the difference asserted.

Since founded on observation distribution boards contain irregularities, the values D, D 'can not be found directly from exactly, the values given in the following table are rather invoice values, which is subject to the greatest possible equalization of irregularities in the determination. For details about the manner of determining D and D 'after observation and calculation is told under 6). III. Main values of h and b (in metric dimensions).

h> b h b h

B> h b

Combin. h b

Genre. m M G C D' D m M G C D' D m M G C D' D 775 0,544 0,467 0,446 0,376 0,350 282 0,881 0,733 0,701 0,594 0,523 308 0,806 0,726 0,730 0,747 0,673 775 0,436 0,374 0,358 0,308 0,277 282 0,691 0,587 0,546 0,417 0,392 308 0,622 0,577 0,589 0,633 0,563 702 702 1477 0,589 0,500 0,478 0,405 0,373 2076 0,679 0,567 0,557 0,557 0,481 512 0,768 0,673 0,673 1477 0,640 0,510 0,494 0,439 0,382 2076 0,874 0,728 0,712 0,660 0,591 512 0,764 0,668 0,650 0,638 0,866 0,538 0,720 0,514 0,678 0,436 0,545 0,397 0,496 Landscape 1794 1794 0,647 0,903 0,545 0,752 0,533 0,744 0,493 0,713 0,430 0,605 Still life 204, 204, 0,710 0,952 0,601 0,835 0,557 0,766 -

Religious

m M C m M

3730 1,354 1,095 350 1,417

3730 1,070 0,760 350 1,038

1804

1804

5534

5534

1.1164 1.5614 0,961 1,315 Mythological 609 609 959 959 1,169 1,580

C 1,333 0,950 1,049 1,461 Although I have the main values as the continued to leading deviation values are still calculated to more decimal places than I list here, for the degree of accuracy, to allow these provisions, but rich three out completely, and I mention That just because I still calculating the Determination pieces from each other, where such occurred, the values have to be defined with more decimals Basically, what if you want to inspect the accounts of the data to be given here, can carry an insignificant difference in the last decimal place. Before discussion of the values of this table is to draw attention to the fact that these values can be considered only as approximate more or less. The very proper values would we have if we all gallery paintings that exist exists and will exist for determining previous values could draw, but on the probability laws are derived from finite m values can be so approximated as properly assume from each larger m, they are derived, and the less betrayed irregularities in the way of values. With respect thereto may be of some values of previous and following tables, which are equal only approximate, suggests that the right would be all right and that laws that apply only approximated confirmed by the values of the tables, with full accuracy thereof be would completely confirm. Later by means of the following provisions ( , v, v, v ') could be the way to win security provisions on the previous principal values, but what I failed to address here in order to give room for the following observations. First place, can be derived terms of the relative frequency of occurrence of images given class and department in galleries from the values of m in the previous table, however, to remember that the ratios of these frequencies differ by individual galleries very much and the special statistics in this respect, it would cost too much space in proportion to its interest.We keep to the overall result of 22 galleries, then follow (without distinction of departments h> b and b> h) after us Kolumme Combine. 5 studied the subject classes in the frequency of such images: Religious, landscapes, genre, mythological, life style. The ratio of the landscapes to genre insbesondre (2076 : 1477) slightly exceeds the ratio 4 : 3 Of genre pictures are those whose height is greater than the width (h> b) somewhat more numerous than those whose width is greater than the height (b> h), whereas in landscapes b> h more than 6 times as numerous as the h> b. Some interest it may have, that when religious images that h> b is about twice are as numerous as the b> h, undoubtedly because the sky is often contracted at high altitude for display, while the mythological images, conversely, the width is preferred by the b> h nearly twice as

much (609 to 350) than the h> b. As for the main values so one has ever lived in collective goods, only to take into account the arithmetic mean of M, which is exceeded and fallen to equal sums of deviations.However, is clear that it just has to be so much interest to know the value of G, which take place at the same sums, is exceeded and below in the same ratio from the other values, the value of C, the set of values of the number of divided through the middle, and to which crowds the values D 'and D the values in a different sense and the densest. In most collective objects now all home values fall close to the M and cooperate with each other, but there are also articles with more to divergent main values, according to the evidence previous table is our object to, and does not impact on the following legal relationship between these values recognize. In all classes, and head of M takes the size of the top spot, C is the middle one, D is the last place one, however, G, C, D ', the magnitude against each other can change by h at Still Life> b the magnitude inversely as in the others. This may also be the case after to be discussed below 6) distribution theory very well, as what ever only requires that the size of C 'fall between G and D. One has the distribution boards as happened in Table II, brought to such large intervals that the irregularities of the Ganges in the main appear balanced, so you can see the position of simply densest value D already about this decide by far predominantly in the main interval, which unites the largest number to find out how you can be convinced, in fact, if one visits the intervals in Table II, in which the values of D are given here in Table III. But can also fall into a neighboring interval of empirically determined main interval, the position of the right D, be it due to irregularities, which are offset in the calculation of D from the general progress of the values more or less, was (at genre b, b> h above) it is because the main interval can shift accordingly by changing the output intervals (as in Landscape h h> b), therefore you will find a few exceptions to the position of D in the main interval on that exploration. - The size of D 'can be calculated from the G and C, what more under 6). In this respect the main values do not coincide with each other, can occur for the first sight of a fix, which of them should be preferred when it is necessary to undertake a general size comparisons between images of different classes and departments. Where it is now, as in the 33 Section, only it arrives to pull the scale into consideration, it is indifferent to which one wants to talk, because of the above table, although no exact proportionality, but the same order of magnitude between them in the various classes and departments . Basically, of course, a purely quantitative comparison of the two average values M, G happen, however, the central value C and the two densest values D ', D are important for the assembly and function relationships of the values. If you wanted to make a size comparison of two types of images according to one of the densest values, for example, it would be analogous, as if you wanted to compare two people to the weight room or extent of their brain or heart, which, though generally with the whole People go in parallel, but without going so disproportionately, while the two agents are in different senses, directly

decisive for the total weight or total wall length. Of these resources, the arithmetic M has a more general and more practical interest in where, when then follows immediately how much copies on average are used to meet a given space according to this or that dimension, it is also about the simple dimensions h, b easier to determine than G, because this does not need to be returned to the logarithms of a, but that changes when one of the conditions, but goes and faces hb whose ratio means can be determined directly from the G of h and b, not so the arithmetic mean of the M of h and b, also can be bemerktermaen D 'to G and C, but not to calculate M and C as under 6) to show. On the other hand has the two densest values of simple dichtste D is a more lying on the hand interest unless it can immediately be judged by the dimension around the images most pile, but D 'has a deeper and more important interest, provided that the entire distribution of values depends on D and probably after D 'and a dependent values (v,), but may not be calculated inversely. After this I would ever watch D 'as the most significant among the main values and therefore also have this value in 33 Section listed as normal. C has the interest that you can bet the same amount, to the knowledge of the same, a picture will fall thereof on the one side or the other, and if, for example, an image is larger than C, may know that the same number of smaller pictures below to greater than about himself, conversely, if the image is smaller than C. 3) asymmetry and deviation ratios Extreme. In the main values Centra are distribution where, more specifically, but the distribution ratios are to be assessed only if one part, the number of the values of a, which are smaller and greater than the main values, and hereby the number of deviations of the individual a of the main values of the two Pages knows, some of the average deviations, by means of which we learn whether class or division varies little or much about its main values. Serving this purpose are values in the following table. M In this formula, m 'is the number of positive and negative deviations of M, and g, g', the number of the variations in the concept C is G. of C on both sides of same, with respect to the number D 'is , are given as important for the distribution account under 6), the relative number D I let brevity aside. (To be more precise determination of the deviation numbers, according to the definition of G, 4x interpolation of the 4 intervals of size 0.04, where the principal value is concerned, means drawing from the four rules have been applied.) Further, means the mean change or just moderate difference in M, obtained such that the sum of the deviations of all a M (negative to the positive of absolute values together) is divided by the total number of the same m, - v is the average ratio of deviation with respect to the ratio means G that indicates in which average ratio G is increased from the individual a and is topped obtained so that all a reset to their logarithms, taking the differences of logarithms of the log G, the sum of these differences (positive or negative for absolute values are added together) divided by m, and the quotient is the number sought in the logarithms. First place, you can now be noted that the asymmetry of all negative with respect to

M, that is i, the number m, the negative variations of M 'is larger than that of the positive m, and that is considerably greater, which, however, by the ratio between g and g 'with respect to certain asymmetry G low and life style h> h b is even almost absent and b are of opposite direction with respect to M. According to the terms of C, it is in general negative or positive with respect to a principal value, according to whether it is greater or less than C. Second, one can observe that h (the ratio between the positive and negative differential speed), both with respect to M in general coincide with the corresponding b in the asymmetry as G by the small differences, showing the table in between, may be considered random. Only in the case of religious difference in this relationship between h and b is slightly larger, but the large irregularities in this class do not allow to obtain reliable legal provisions thereof. The value of gives an indication of the average fluctuation size of individual specimens to the arithmetic mean of M, and by comparing the values of this table with the values of M in Table III it is seen that the larger M, the larger the variation, whereas the from the reported values to be calculated easily, proportionate variation shows no strong differences in classes and departments. But the relative fluctuation is judged better, without a new bill to require this, after, related to G, mean ratio deviation v, where shows immediately that the same between the different images is not very much varied only from 1.582 to 1.707, and questionable whether even these differences do not significantly depend only on unbalanced contingencies. The more v deviates from unity, the greater the relative fluctuation, a value = l would mean that all copies have the same size G, hence no fluctuation would take place in relation to it. Table IV about the asymmetry and deviation ratios of h and b.

h> b h m, m' g, g' v m, 486 289 415 360 b 483 292 411 364 442 260 367 335 0,303 1,608 1110 h

b> h b 449 253 372 330 0,427 1,634 1115 H 928 549 786 691 Genre.

Combine. b 957 520 771 706 0,347 1,707!

0,244 0,196 1,544 1,552 171 179

0,274 1,582

Landscape. 1298 1296

m' g, g' v m, m' g, g' v m, m' m, m'

111 152 130

104 155 127

684 922 872 0,303 1,630 129 75 115 89

679 907 887 0,436 1,657 132 72 116 88 1096 708, -

778 995

774 1016

1081 1060 0,274 0,347 1,624 1,649 -

0,441 0,253 1,635 1,657 175 133 153 155

Still life. 171 137 148 160

0,290 0,219 1,605 1,556 2267 1463 2502 1228 1060 744

Religious.

0,755 0,445 0,566 0,806 Mythological. 190 160 196 154 344 255 333 276

0,661 0,558 0,600 0,742

Both as v change a bit with the number m of copies, from which they are derived, and, pursuant to the provisions above example actually still a small correction, socalled correction due to the finite m in order to return to the normal case they were derived from an infinite m. However, this correction, which is so slight, the more m grows at such a large m, as here, the determination of was present and v, are justifiably neglected, and has been neglected in the provisions of the table. To make it even, you would have to rule above certain nor multiply, and apply the same correction factor on the logarithmic ratio, for which the person wanted by the logarithm v is the number. Simple, just less safe than to the average , v, to the greater or less variation in the images can be assessed also by the simple distances between the extreme values of each other or of the main values; also it has some general interest, the largest and Knowing smallest values up to which a collective subject has come under a given number of copies, and you certainly can not overlook the fact that when the number of copies, and with this, the scope of the deviations would have increased, and

probably the extremes even further from could be waived each other, so that you can see no fixed values in the extremes observed for a given m. Not impassable boundaries the same but are mathematically at all can not be given, only can say in general that if the number of copies is already large, it must continue to grow in terms of probability laws on a colossal proportions, when a much larger splaying of extremes to be expected. Detailed provisions on this subject, which are based in part on their own theoretical and empirical studies, I can not take it in this place. After this I give in the following table (as always in metric dimensions) the two largest and two smallest values of h and b, which have occurred in each class and department indicated in Table III number m of images. V. The two maxima and two minima of h and b. h> b h Genre. b b h> b h

Max 2.23.2.15. 2.12. 1.62. 2.73. 2.40. 4.01. 3.51. Min 0.12 0.13. 0.09. 0.10. 0.11. 0.12. 0.16. 0.16.

Landscape.

Max 3.00.2.69. 2.44. 2.40. 3.40. 3.40. 4.64. 4.64. Min 0.14.0.16. 0.11. 0.16. 0.07. 0.07. 0.10. 0.10.

Still life.

Max 2.41.2.38. 2.28. 1.90. 2.21. 2.04. 3.43. 3.17. Min 0.22.0.22. 0.16. 0.16. 0.16. 0.17. 0.19. 0.20.

Religious.

Max 10.0.6.10. 7.69. 5.68. 6.66. 5.95. 12.77.10.0. Min 0.10.0.13. 0.07. 0.08. 0.11. 0.11 0.17. 0.17.

Mythological.

Max 4.11.4.11. 3.25. 3.24. 2.90. 2.22. 5,1. 4.85. Min 0.21.0.21. 0.14. 0.16. 0.14. 0.14. 0.17. 0.20.

So, for example, was the largest height h, h in the one image genre> b has occurred, 2.23 m, 2.15 m, the next highest, the minimum 0.12 meters, 0.13 meters, the next smallest, usf and the absolute maximum height (6.66 meters) and width (12.77 meters) has occurred in religious images. 4) Provisions on the relationship between height h and width b.

In order to have an average ratio between height and width for images of a given class and department, you could proceed by the ratio or for each image to measure its height and width insbesondre specific and smmtlichen from these individual provisions of the ratio, the arithmetic mean delay. But apart from that to which, in many instances exceedingly laborious, determination of so many individual conditions by means dividing both individual dimensions was messed up, is also in the nature of things, that it is appropriate for conditions to equal the ratio means the same, which in exceeded and increased (combined) ratios of the various conditions is as to adhere to the arithmetic mean. 7) The ratio of means of , or it can easily be obtained that the particular predetermined ratio means of h and b, which in Table III are divided by each other, by this is mathematically exactly the same value as if you mean the ratio of the specific individual or . itself delay, whose formation is thus saves In order to lift themselves certainly not worth the effort to determine the logarithms of the individual h and b, if this is to obtain the ratio means the h and b in Table III itself, but the effort would be a very increased, if you even the logarithms the individual
7) This

or

would take to get to the end.

has the disadvantage that it fails somewhat different, depending on

whether one is from ) or (as the harmonic mean this from the determined, that is ambiguous, a disadvantage which the Verhltnimittel not subject to the conditions. Let us now unwinnable divisorisch to those in Table III, the ratio of means us to prevent proper fraction numbers following table. for h> b, and or by

prefer for b> h, we find the

VI. Ratio of means V.-M. b> h 1,338 1,380 1,388

and V.-M. Combine. 1,021 1,282 0,993

V.-M. h> b Genre. Landscape. Still life. 1,250 1,248 1,258

These provisions include that, it seems to me has very interesting result that the ratio of the larger to the smaller dimension in different images classes the same (very different from the golden ratio) value - because the differences in the table can be considered as random - a different However, depending on h> b or b> h for h> b, the height to width behaves remarkably like 5 : 4, b> h is the width to height is about as 4:3 Moreover, one may observe that, while in the two divisions h> b and b> h is the height of the width differs in such considerable proportions, however, the ratio of the two in the combined departments of genre and style of life almost to equality (the values 1) accommodiert. However, one might think that h differs from b to a lesser conditions at h> b and if b> h, the latter would give the combination to swing to his side, but the offset is about the fact that both genre as a style of life which h > b enter in greater numbers in the combination as the b> h not take such compensation for landscapes, however, where b> h outweigh tremendously in number is. For genre I have the money means for h> b, and even prosecuted for b> h at special directions. The constancy of these ratios appear more remarkable when one particularly examined for images of various galleries, by this way approximately the same values again found that the deviation can be considered as random, but only if each gallery or summary of galleries of a sufficient number of such images presents to let the uncertainty of the determination not too much room. This is proven by the following table in which the specimens are taken together these galleries, which presented only a small number of genre paintings, to draw funds. VII ratio of means and genre paintings in various galleries. h> b m V.-M. Dresden ........ Munich a) and b), Frankfurt .......... Petersburg ....... Berlin a) and b) ..... Paris .......... Braunschweig, Darmstadt Amsterdam, Antwerp Vienna, Madrid, London. Leipzig a) and b). . . . Brussels, Dijon, Venice, 151 126 122 74 62 57 48 48 48 39 1,276 1,248 1,236 1,220 1,225 1,243 1,241 1,297 1,287 1,226 119 103 87 60 82 88 24 97 34 38 m V.-M. 1,334 1,311 1,337 1,362 1,357 1,322 1,332 1,370 1,315 1,345 b> h

Milan, Florence. . . 775 702 Even with the absolute values of the width b appears after the examination of genre pictures not significantly change the ratio between h and b, but should be to accept an amendment that would, according to the following conclusions with increasing b to decrease, at h> b a little and increase with b> h, that ever become smaller with increasing b. I think that is the following ratio of funds from the following number m of copies of the following size limits: VIII ratio of means Size limits of b. 0 to 0.295 .295 To .495 0.495 to 0.695 0.695 to 0.895 0.895 to 1.095 1,095 and over it. m V.-M. 274 271 123 54 28 25 1,271 1,232 1,228 1,230 1,277 1,229 42 158 164 98 63 177 and with different sizes of b (genre). h> b m V.-M. 1,322 1,287 1,322 1,361 1,372 1,386 b> h

775 702 Finally, one finds the same relations also close again when you take the ratio of mean values of G the arithmetic means or medians M divided by C h and b in Table III by each other.Less it is true mostly in D 'and D. For brevity, I'm going to specialize in these relationships. Instead of dividing the, specially chosen for h and b, the main values of Table III with each other, you could now also from the individually specific or pull as much main values according to the same rules that you and the principal values of the individual h b moves, but what was, as already noted with respect to the arithmetic mean of the tedious calculation of so many individual circumstances and order is the same in a distribution panel. Meanwhile, I have such a bill in genre at least up to the logarithms of and carried out, which, although not yet draw an arithmetic mean, but the ratio means G (which it indeed bemerktermaen not need this way.) central value C, densest ratio means D ' and an average deviation ratio v permitted; these

values in exactly the same relationship to or understood earlier than on the individual h and b. Folgends I give these values, 'dependent, d, d' with the addition of some other, of D, v, v ', which can be explained only under 6). , H> b G C D' v d, d' v, 1,250 1,242 1,214 1.0661 274.5 502.5 , B> h 1,338 1,329 1,296 1.1035 294 408

0.02291 0.03480

v' 0.03236 0.04933 It is seen that C and D 'be somewhat smaller than G, which is probably not to be regarded as accidental, by, under 6) enters it to be discussed in a more general legalism. Square images came under the 10558 had moved to study only 84 images, ie prior to 1 126. As they have been taken into account in the distribution, is already given above. 5) Mabestimmungen for the surface clearance h b. To know how much area is covered by a given number of images given class and department, you will always be the arithmetic mean do the same, apart from this somewhat practical interest, however, is preferable to the ratio of funds to draw from size comparisons between different classes and departments have both to remain in connection with the determination of the average ratio of the dimensions, for which bemerktermaen the arithmetic mean not well useful when, because of the ratio means has the advantage here of not having to form the individual hb to it therefrom to draw, as it is mathematically precisely as is, if you multiply the average of the ratio corresponding to each h and b in Table III with each other. We obtain the following values for the ratio of the mean surface areas in square meters. IX. Ratio means of h b.

h> b Genre. Still life. 0.1746 0.4188 Landscape. 0.4340

b> h 0.3877 0.4120 0.5020

Combin. 0.2550 0.4133 0.4502

Very different and indeed considerably larger, values obtained by multiplying the arithmetic mean of M and h b in Table III together, as naturally as the M are generally larger than the G, while one of the corresponding bottom by multiplying the C, D 'and D of h and b completely replaced with other smaller items. However, these products follow the same order of magnitude for the various classes and departments. The actual arithmetic mean of the hb hb by summing the individual values and dividing by the number of them, I have because of the great hardship for its intended merely Genre h> b determined and 0.3289 Qu.-M. found, which, as you can see, the G found above, values 0.1746 differs greatly. Equally, it is very different from the products of the arithmetic mean of h and b (in Table III), which is 0.2371. To be convinced in a light way of the possibility of such a large difference, as the simplest example, assume only two images, one with height 1, width 2, the other with the height 10, width 20 This, from the mean height and mean width 5.5 11 as a product of the same derived compounds is 60.5, which actually arithmetic mean of their areas 2 and 200 is 101 After I gave me even bother for genre h> b up to the individual hb and genre b> h at least to the logarithms to go the same, could be anything, analogously as for ,

and , following determination pieces deduce that principle and necessary only for G with, to be received by multiplying the principal values from Table III, agree, but empirically even in C, D 'and v agree in greatest approach to how you can convince by performing the multiplication, while on the other hand, v, and v agree ', whose meaning is to be gathered from 6), notably with the sum of v and v' that are especially given under 6) for h and b.

hb, h> b M G C D' v d, d' v, 0.3289 0.1746 0.1596 0.1164 2,387 301 474 0.2778

hb, b> h ? 0.3877 0.3448 0.2244 2,639 235 467 0.3179

v' 0.4640 0.5135 Among the total 10558 images, which are discussed in Table III, the three largest are in the area of space at all three pictures by Paul Veronese, representing all guest

times in which Christ was present, namely: Gastmal at Levi (Luke V.) h = 5.95, b = 12.77 (Venice, no 547) Wedding at Cana .... h = 6.66, b = 9.90 (Paris, no 103) Gastmal the Pharisees. h = 5.15, b = 10.00 (Venice, no 513) The three smallest are 3 images landscapes on copper, two equal allegedly by Paul Brill, h = 0.074, b = 0.091 (d in Senior Citizen, Pinakothek at Munich, Dept. 244 2 a and c) and Jan Breughel , h = 0.074, b = 0.099 (Milan, no 443). What are the surface area varies from 0.006734 to 75.9815 Qu meters or the largest file 11283 times can take the smallest image. 6) distribution of the same laws and probation. It is not disputed calls the relatively regular course of values, which has been shown in the distribution table II, on to seek the law or general laws of distribution, according to which determines how much copies of a given class and department on a given large number of such specimens fall between given dimension limits the height or width, and according to which regulate the relations of the main values to each other. Now I can the theory of what folgends to say about it, do not develop here and run, but must me some hints about the mathematical experts, the random statement is not entirely foreign to restrict, having stayed in in Section XLIV . Point 1 above (in the View Notes.) Treatise Some say it. After this but I will, first, the factual of belonging here, a more general application of collective objects permitting, make laws, secondly, show the empirical validity of our examples of gallery paintings, which these laws may be accepted without regard to the, popular not representable, theory . The essence of this theory on the mode of distribution of the collective objects resting in the following sentences. 1) Where, as often in collective goods, an asymmetry of the way is that the number of positive and negative deviations with respect to the arithmetic mean differ more from each other than can be written on unbalanced contingencies, is an unequal probability of deviations from the mean instead . 2) By reasons which, in the oft-mentioned treatise (Chapter XX) are discussed, is probably from the outset, that in order to gain easy distribution laws so contrary to ratio deviations as arithmetic deviations 8) to take on a certain value terms has and this will be introduced as a condition in the theory.
8) Be

the dimensional values of the copies of a collective object generally denoted by a, and A is taken as the starting value of the deviation, then according to my description a - A simple or arithmetic difference, a ratio

deviation, log = log a - log A logarithmic deviation of a question of A (the latter deviation short so named not exact "simple deviation of the log of a log

A"). While now the Gaussian law of random variation on arithmetic variations in M to both sides applies the same, it takes place after the next to be given to provisions for us still apply if you would rather to inherent variations in D '(which in this previous meaning as A taken) applies and v for each side of the applicable particularly to mid-logarithmic deviation, or v 'is used. 3) the output of the deviations is taken from the densest ratio values D 'hereby in context, bringing the ratio Deviations for recovery through bill to their logarithms and the sum of the resulting positive logarithmic deviations in a particular, different for different collective objects, ratio greater than or less than the assumed negative. With these words hang by an analogous way, as I see by Encke in Abh customary. d Meth D. kl. Quarter of the astronomer. Jahrb f in 1834. p. 264 ff for the development of the Gaussian law for assumed symmetry of the deviations with respect to the arithmetic mean embarked find, and some of them together to Socialize ligands further evolutions all the following laws mathematically trackable, except that in this pursuit can not be discussed here. After my previous, extending a plurality of anthropological, botanical, meteorological and artistic collective objects themselves, research is very likely that the same laws that are coming here to remark, in principle, for all well-defined, exceptional disturbances are not subject, collective objects are common but in collective objects of weak asymmetry of the variations in M as D ', and less proportionate amount of fluctuation (ie, where small or v is a little different from 1), these laws can not be sure konstatieren because the different principal values coincide here, so close that their statutory conditions by unbalanced contingencies easily hide, and because then those of the logarithmic relative D ', to which one is rejected, calculated according to ratio deviations to close match the ratios of the arithmetic variations in M to the preference of the calculation with the latter before the To prove statement with the former. Collective objects but with so powerful and so strong asymmetry of relative variation, as our object presents are rare. An equally suitable, but not yet quite as completely crafted by me, as to Konstatierung our laws but I have determined the amounts of rain, fallen to the level of water, found that. Due to a long series of years in the successive vintages of the Librarian univ and the Archives Gen. listed for Geneva under the heading "tombe eau dans les 24 heures". So far I've checked the folgends drawn up laws about what course still requires completion, you will find this fact again. 9) Certainly strange that so peculiar laws, as one finds folgends placed collective objects of quite different character, as gallery images and rainfall are, can come together.
9)

Should I not come to complete the investigation or about to be published, we will, if you will make it elsewhere, have to be considered in a suitable manner, that until 1846 including the rain heights less than 1 millim.are almost not registered. In most collective goods, where neither asymmetry nor proportionate variation is

strong, it will be yet comfortable and find no substantial error allowed, rather arithmetical discrepancies in the outputs of D as logarithmic in the outputs of log D 'applied on the income, since you which transformation of a spared in logarithms so, and near-collapse of all the main values you will be able to hire even with the outputs of M a satisfactory distribution account. So much for the introduction of the following provisions. As on the previous and the following distribution statement with respect to the principal value of D 'is to perform logarithmic, so that, given in Table IV asymmetry and differential provisions are as of yet regarding D M and G by such' supplement, including table below is. In this formula d, and d 'respektiv the number of positive and negative deviations with respect to D', while v and v 'is the average logarithmic variations in D' to the negative and positive side, to be understood as: a hot, the values which are less than as D 'are' a 'which are larger, then v, = , ie, with the same d, divided sum of all negative logarithmic variations in D ', and v' = , ie with the same. d 'divided sum of all positive logarithmic variations in D'. X. Asymmetry and deviation ratios with respect to the densest ratio value D '.

h> b h d, d' v, v' d, d' v, v' d, d' v, 287 488 301 474 b 269 433 0.1614 0.2484 787 1007 0.1944 0.2299 h

b> h b 235 467 0.1620 0.2637 856 938 0.0997 0.2272 564 913 h Genre.

Combine. b 644 833 0.1941! 0.2667 936 1141 0.1958 0.2394

0.1387 0.1460 0.2379 0,2308 100 182 92 190

0.1513 0.2413 954 1122 0.1905 0.2289

Landscape.

0.1859 0.1323 0.2439 0.2781 157 151 176 132

Still life.

0.1698 0.1730

v' 0.1512 0.1372 It is seen that after d, and d 'to be assessed asymmetry ratios with respect to D' to each corresponding h and b is a multiple approximate, but on the whole vote for the not nearly so well with each other, as it earlier concerning took M and G what but probably only on the less secure determinability that 'belongs to the D, depends. Relatively larger deviation indicates the compliance of the values v and v 'for h and b. Let us now turn to the law to which it is, as we recall here that these laws only provide a rigorous application to indefinite large number of specimens without exceptional disturbances of the distribution, and we hereafter same be satisfied with an approximate applying must. l) The principal Act, in which the other laws so to speak together and complete, and that the income approach to lead directly, is this. The entire distribution is the Gaussian law of random deviations, according to which the distribution of the observation error depends, depending on their size, with the soon to be designated, however very important, modifications, under. The Gaussian law itself in its actual version can be characterized sufficiently for this to be made of applications by the following provisions. Did you mean change determined with respect to the arithmetic mean M, as indicated above in point 3, and count is the number of deviations, which according to positive and negative side to a given positive and negative deviation limit range of M, together, so the entire range of variations and therefore different values m 25 pC up to = 0.3994 50 pC = 0.8453 75 pC = 1.4417 which limits future to apply just as first, second and third deviation limit, and the second of which, called the probable deviation. But you can also by means of known mathematicians, table for any deviation limit the then-reaching proportionate number of deviations after this ratio to , or dependent probable deviation and consequently also between any two deviation limits falling number find deviations or different values. The modifications now, which has to suffer this law as applied to our subject, they are. The output of the deviations is to be found not by M, but in the manner to be indicated below, to take D '. The law is not on arithmetic differences, but logarithmic deviations (log D '- log a,) and (log a' - log D ') to purchase, and for each of the two sides after the particularly applicable for d, v, and D ', v' particularly to utilize, for example, on which side of the negative values to v = 0.8453, on a positive

side values to 'rich v = 0.8453. This example of genre h, h> b applied, then according to Table III and X (with the concurrence of some more decimals, as given in these tables are) log D 'here from 0.57465 to 1, v = 0 , 13867, d = 287, and 143.5 values are therefore to be expected between D '= 0.37553 as a numerical value to 0.57465 to 1, and the dimension value, which is a numerical value to the logarithm 0.45743 - part 1, the to 0.8453 v = 0.11722 'deviates from log D into negative, ie the dimension values 0.28670. The observation (with the concurrence of the below to be significantly interpolation of an interval size of 0.04) was for 145.8 or 50.8 p. C. instead of the normal 50 p. C. find. A general probation is given below. With this legislation but are still following in context. 2) It behaves d : d '= v: v' and is therefore .

3) With a fully zulnglichen, for use on empiricism, approximation is the equation

where , the number Ludolf From this follow immediately but the next two laws. 4) The value of C is always its size by between D 'and G, like G> D' be <D 'or G, as one can easily conclude by with a little attention on the previous equation the fact that a positive proper fraction. To reconcile this with the equation, namely G must always incumbent on and in the same direction as the C of D '. 5) The value of D 'can be calculated by the following equation from the values of G and C:

6) From other sources it can be proved that , and thereafter D from D 'and v directions. These sentences are the basic laws of distribution whose probation is to be sought. On probation the first, the main law, the challenge ahead is to keep either preferably in such classes and departments whose m is not too small, and in which no occur in noticeable irregularities, or without exclusion of series with some-what irregularities to compensate by taking together the results of several series of interference as possible. If we now off probation first and foremost for the latter to determine the percentage deviation of up to l, 2, 3 Limit, as indicated above, by how far respektiv 25, 50, 75 p. C. to the d, and d 'rich', so I got from the original plates of

the form of Table I 10) first and foremost for genre h, h> b as a deviation numbers up to these limits negative part 64; 145.8, 215.3 , however, d = 287 was, what 22.3, equivalent to 75.0 percent instead of the normal;; 50.8 positiverseits 118; 244.5: 374.9, while d '= 488 was what 24.2, 50 , 0, corresponding to 76.8 percentage. The same determination I have for h and b of each of the investigated classes and departments insbesondre after her d, v, d ', v' done, but now the four deviation numbers up to a given limit for the two sections of h and b of the same class each side adds up, and thereafter, the percentages of summed up as d and d 'determined. (For still life, where only h> b was present, there were only ever 2 deviation numbers to add up each side.) So I got up to the particular 3 boundaries (size) instead of the normal percentages of d, negative part, and of d 'positiverseits following observed percentages for the following four conclusions: 1) 4 series genre; 2) 4 Series landscape, 3) 2 series Still Life (h> b), and 4) combinations of 4 h and b with genre and landscape.
10) To

the influence of the large irregularities showing the panels in this form to compensate possible, I have availed myself in determining the deviation of up to the relevant limits following artifice. The limit to calculate a deviation of up to what number, generally falls between two measurements of the original table. I now sum the 4 numbers of the interval size of 0.04 to the center of the line arrives, ie belonging to the 2 smaller and 2 larger sizes, and complete the deviation number ranging up to the beginning of this interval, by interpolation of the sum this interval by proportion of the piece, which extends to the border in the same. It should be noted that the beginning and end of the interval, which combines, for example, the first four figures of the table I, but not 0.29 and 0.32 are 0.285 and 0.325, as the numerical values for the dimensions of the interstices between are distributed to think. Although there is a need to show as in the second example, probation, not necessary this artifice, but he is after all an advantage. XI. Observed percentage deviation numbers instead of the normal 25, 50, 75 1 Gr. Genre. Landscape. Still life. Combine. d = 1092 d '= 1862 d = 1835 d '= 2317 d = 523 d '= 283 d = 3097 d '= 4009 25.2 25.1 26.2 25.5 24.9 27.4 25.5 25.0 2 Gr. 50.1 49.4 50.2 48.9 43.3! 51.2 49.1 50.1 3 Gr. 74.9 74.8 74.9 73.9 74.4 77.7 75.0 74.7

To give the probation in the other form of some of the more regular rows, so here follows the compilation of the observed measures of Table II for given intervals in some departments of genre and landscape with according to our rules on the basis of a table running the Gaussian 's law calculated numbers, 11) where the calculation of the interval in which D 'falls, composed of two parts, one with d, v, to negative, and one with d', v 'after positive side. If you have the table of the Gaussian law on hand so you can go to the information provided in Table III and X control the data itself folgends calculated values and calculate the remaining series of Table II and compare the calculation with the observation.
11) The

Interpolationskunstgriff been thought so) in the note (is folgends with laser-page-sen, and the observed measures of Table II accordingly here exactly, only combined for larger intervals, reproduced. XII. Comparison of observed and calculated deviation numbers between given limits. Genre h, h> b Genre B, h> b Landscape b, h> b Landscape h, b> h

Measure intervals.

observed. calc Observed. calc observed. calc observed. calc 0 to 0.3 163.5 164.9 283.5 279.9 268 152.4 121 120.3 78.5 22.9 34.6 12.5 11.5 286.8 31.5 267.4 93.5 117.9 54 76.5 11.9 14.5 56 14 33 36.4 273 90.9 536 56.3 384 54.7 380 13.3 81.5 30.4 139.5 296 509.1 387.9 373.1 83.1 144.8

0,3 - 0,5 288.5 0,5 - 0,7 145.8 0.7 to 1.1 119.5 1,1 - 1,3 24 Rest 34

775 775 775 775 282 282 1794 1794 Indisputably one will find the match of observation and calculation satisfactory enough to protrude-the two tables. Sentence to probation of 2, according to the X table can be used, wherein the values of d, d ', v, v' with respect to the one listed in Table III for observation, given values of D ', and now of course also are still afflicted with observational error. It will be found, but complied with the laws already in the provisions for each class and departments close, but soon after the one soon after the other something about fluctuating. For most possible adjustment of these contingencies can all be summed d, d ', v, v' of Table X, of 14, for themselves, and take the ratios of these sums, we have

So both conditions almost exactly coincident. The probation of sentence 3), we are in the parole of his two inferences 4) and 5). What now 4) is concerned, if it be suspended in Table III where C of size between D everywhere> G 'falls and G, D may' be as in still life h> b, or D '<G, as otherwise everywhere. What 5) is concerned, as is his probation in connection with the 6). In Table III, the values are D 'and D not be measured directly by observation, but D' is calculated according to 5) from the observed G and C, and D in accordance with the thus calculated D 'and observed with respect to v, is calculated by means of 6). So it is important to compare these calculated values of D 'and D with the following directly from the observations. The direct determination of the observations has now of course because of the random irregularities of distribution difficulties, but can be obtained in spite of them so far approximate direct provisions for D 'and D to determine the admissibility of the given rules of calculation for these values then can. We summarize first D in the eye. A rather crude, but simple, method of direct determination of D,, h> b in Table I is in the original distribution signs of the relevant class and department, such as those in a sample of genre hour to summarize the numbers of each 5 consecutive measures , and this continued through the series of measurements (which are for example listed in the test piece for the interval of 0.29 to 0.33 including 82, 78 is 0.30 to 0.34, & c), and of the five dimensions on which the maximum number of drops, the middle one as the D nahehin view accordingly, which may be found as approximative D in that fragment of 0.36 by, from 0.34 to 0.38 (incl.) 87 as the maximum number di greater than in all neighboring intervals is found. Where to now in such a way only encounters a decidedly predominant maximum speed when passing through the distribution panel, you will then be able seldom err greatly in the determination of D. But often it is because not enough by such a summary balance irregularities successively to several definite maxima, and then remains undecided in which one has D look, most likely at the largest, but can in no very great preponderance of that the true D, which an adjustment of the irregularities presupposes also be sought rather in a smaller maximum or between a couple Maximis short, the situation remain the same indefinitely thereafter within fairly wide limits. Hot this method for the sake of brevity, the method 5 Much more accurate, but also much more complicated, as this method is the following. It summarizes the measures of three consecutive, a certain number of dimension values seised, same Maintervalle in three sums paid particularly together by taking these intervals so large and of such a first start that even when progress with the beginning of the interval by the number the dimensions, which are comprehended in the first, the maximum sum always remains on the

intermediaries interval determined thereafter for each such initial location of the D within the three intervals by means of an easily derivable from the interpolation with second differences, maximum equation for the approximate condition that the sum of the same number is heaped on the center of each interval, and takes from these provisions that means. The more detailed discussion of this process, which can be easily placed on a mechanical design would lead too far here, I call it just the maximum interpolation method. - To direct determination of log D 'can not proceed equally in both ways, after previously brought a on their logarithms and has established between these interpolationsmig equal intervals. Regarding D I have both modes of procedure, concerning log D ', from which D' is merely the second applied. Here follows a summary of the as directly determined values of D and D 'with the given in Table III, by Theorem 5) and 6) calculated values. Where darboten several decisive sum maxima in the process with 5, the resulting values of D are listed next to each other, and the corresponding sum of the largest peak highlighted in the press. With very severe irregularities must refrain from determining the densest values at all. XIII. D and D 'of the invoice and observation. D observed. calc 5 Int-Max. calc observed. Int-Max. h, 0,350 h> b b, 0,277 h> b h, 0,401 b> h b, 0,496 b> h Agriculture h, 0,523 h> stock b b, 0,392 0.36 0,349 0,376 0,383 D'

0.29

0,281

0,308 0,315

Genre

0.40 . 0.57

0,398

0,436 0,467

0.50.

0.57. 0.64 0,502

0,545 ?

0.43.

0.63

0,528

0,594 0,660!

0.40 . 0.33

0,389

0,417 0,433

h> b h, 0,430 b> h b, 0,617 b> h Style life h, 0,673 h> b 0.36 . 0.43 0,410 0,493 0,503

0.66

0,643

0,713 0,718

0.46.

0.68

0,607

0,747 0,757

b, 0,563 0.40 . 0.52. 0.59 0,585 0,633 0,608 h> b Charged single strong deviations between observation and calculation, it is the combination mood both both with respect to D as D again find very satisfying, but of course can convince 5 also from quite an uncertainty of the method, considering the multiple values between which they usually can fluctuate. Whether the previous, applicable to h and b for themselves, laws for , and shall be subject to doubt. To investigate it, I have given myself the trouble to determine the logarithms of the individual ratios in genre, and for h> b and b> h to bring in two distribution panels, resulting in the determination pieces (not s) given on derived. Meanwhile found in the distribution panels single strong irregularities, and the connection of the computed according to the current rules on the observed distribution is very imperfect. In these is probably blame the fact that the series of how to, Down with the quadratic form corresponding images, fixed values 1 closes, instead herabzureichen by fractional values indefinitely, strictly speaking, as it is the theoretical requirement. Because they wanted to the series of continuing, h> b into real fractional values, we would therefore in the b> h inside, which are not comparable to the first, and so reversed with with b> h possible, however, that this circumstance to the main distribution of any very considerable influence, and the imperfect combination of mood unbalanced contingencies depends, in relation to the small variation in and win a big impact. and were found

Based on the (then) given values for determining pieces of

at h> b from D 'of, (this is determined by G and C) calculated percentages of d, and d 'adopted up to the three boundaries respektiv 29 , 5, 54.6, 75.0 and 26.2, 56.1, 76.4, so in most cases very different respektiv of 25, 50, 75, and the second rule, whereby d : d '= v : v 'is confirmed by the data (see above) in bad with good. Rule 4) applies if both. To, according to G and C values calculated D 'could be due to the irregularities, the D' to Int. Max in determining not well, however, in the very near then tuned to the invoice value of 1.296 value 1.301 was found. D is determined not by observation, not because of the logarithms of back to the numbers. and have gone

With greater certainty should be able to transfer the essential validity of particular laws valid for h and b on the surface hb spaces for which the most important determining factors in genre (see above) are met. On the one hand, the mentioned theoretical difficulty here is not held, on the other hand, agree better with the observed distribution of numbers than in the normal and . 50.8;; 75.4 and 25.2, 48.5, 75.3, in fact, were found in the percentage of the numbers d, d 'D' to the three angenommnen limits at h> b respektiv 27.2 , for b> h, corresponding to 25.7, 48.9, 77.0 and 26.3, 48.6, 72.2. Rule 2) is true for the values d, d ', v, v' at h> b pretty good, with b> h less; rule 4) is true if both. A control of the computed values by the D'Int.Max process were major irregularities in the distribution table in the way. Where the proportionate amount of fluctuation is small, G falls markedly with M, and D 'with D together, and one can calculate the distribution in the logarithmic variations in D' arithmetic discrepancies regarding substitute D, which simplifies many things. In fact, Scheibner (in the reports of schs Soc. Scientific d. (1873) have shown that there is approximate (without regard to a particular distribution law) , where q 2 is the average of the squares of the deviations of M, q 2 but is 2 of the same order. Thus, where q 2 , and hence 2 is very small, M G falls together with markedly. Now, however, may also be v 2 than otherwise be very small, when q is 2 and 2 are very small, because 'is given by itself, but this carries over to the logarithms over So then, by Theorem 6), the deviation of D from D.' with the relative smallness of the variations in M and G such respect D neglected can be.Substitutability for logarithmic arithmetic deviations depends on the proportionality at both proportionate smallness of the first. 7) More detailed provisions on the circumstances of the investigation.

The classes are determined. a) Religious Pictures, Images ds with the Old Testament and Christian religious content. This does not only compositions were calculated with several figures, but even individual heads and figures as Christ heads, images of saints, depictions of martyr stories, even landscapes with holy Masked so that this class is actually an illdefined hodgepodge, so even a very irregular distribution found by size and number instead of it, only that here the distribution panels as a whole had to say as paper dragon-like form of Table II. b) Mythological, ds pictures with content from the Greek and Roman gods and heroes world, far taken accordingly, hence poorly distributed. c) genre pictures, in the usual sense, without war and hunting scenes. d) landscapes, with the inclusion of navies, but without a harbor and city views. e) Still life, ds pictures with inanimate objects (apart from this excluded Architecture), as such compilations of eatables, utensils, also flower and fruit pieces, with the exception of those which include human figures, with inclusion but those in which animals occur secondary. Are not drawn to study secular historical pictures, architecture, portraits, even the not comprehended in previous classes images. Everywhere are excluded frescoes and wallpaper images, diptychs and triptychs, and those panels were included in which different representations in demarcated from each other departments. Of course several times could doubt arise as to whether an image as a genre picture should be left in c) with added or secular historical picture aside, if an image as a landscape under d) should be included or left as mere cattle piece aside etc, and even well- Others may have slightly different categorize the doubtful cases. However, this service does not come to much, because the uncertainty only affects relatively few images, so that the conditions thus can not be significantly involved. A very sharp separation principle can not install this at all, I went to the catalogs after aperfu the predominant impression of the images designation. Multiple cases occur that two or even a number are listed according to their content-related images of the same formats in a row in the catalogs. Thus, in the third game of the Louvre catalog Ecole francaise p. 342 ff of no 525-547 under the common title "Les principaux traits de la vie de St. Bruno" 22 Pictures of Le Sueur before that, with the exception of no 533, all the same dimensions, h = 1.93; have b = 1.30 meters. The question arose whether, in such cases, all copies should be included and billed as a single only once, or as often as they occurred in the distribution panel. Would it be it, but what is likely to have little interest to determine the actual mean values contained in the given Galleries, images of a given type and the actual distribution ratios, so of course only the latter method could be observed, but since you can not count on had that same average dimensions recurred in other galleries in the same ratio, one would obtain an unfair contribution to the overall means

determining in this way and thus find the general distribution ratios significantly altered. Thus, the following numbers of religious images were found in the 22 galleries in the following size intervals of height

Height 1.865 to 1.893 1.895 to 1.995

Number 91 89

1.995 to 1.205 93 which numbers close match, as expected with adjacent intervals. But in this case all 22 images Sueur'sche of 1.93 meters height are only counted twice, one would expect they want 22 times, we would have taken the consecutive numbers 91, 93 received, 89: 91, 109, 93, what the distribution would have been very irregular. Accordingly, in other cases. However, since a plurality of related images of the same dimensions at least implies a certain strong preference of these dimensions and therefore takes an increased weight to complete, so I have short and round decided all cases where two or more related images of the same dimensions were present , 2 times, but not more than 2 times to number in the distribution table. If the total number of commissioned study images is indicated to 10558, this number is so far not severe, are all just taken as on the previous observation of a greater number of related images of the same dimensions, only two in the bill, but on the other hand landscapes in which religious or mythological Masked occurs both in landscape images as religious and mythological images, so recorded twice, are. However, since the influence of the two factors do not significantly and also of the opposite direction, the above number N is close enough.

Th addition to IS 176 About the color impression of the vowels.

At the above places has been noted that one is repeatedly inclined to the impression given vowels to the impression given colors, white and black included, to find accordingly, and that while several people in the positive information in this respect very different from each other, but that a match is not lacking in certain negative points. Since I found that to several local was interested to compare the impressions of both, so I have to settle an important meaning without him in his large uncertainty, but, through the collection of a greater number of votes, in which I was assisted by some friends sought to identify what it is about'll find to be constant or decided primarily, folgends and share the results with them. Would have the task more interest than it has disputed the investigation it would nahehin fixed central figures of course still be extended by people to obtain a far greater number than has happened here.

Not all persons to whom one is in with a question, therefore, go to the relevant comparison on by explaining even some that she did not know such a draw, but outweighs decided the number of those who enter into it, of which not find a few who have already hired such on his own. But many also do this or that vowels only a certain color impression, however, you can find the remaining undefined. Some express themselves with the utmost determination and decisiveness about the impression it was some or all vowels, as if he could not help but find other less decided and secure. But it turns out a little closer match between former as between the latter and the former laugh several times during their confrontation statements are mutually exclusive. Of respondents who have ever taken in the comparison were, including those listed in the very first note (the data are again taken up in the following) in the whole 73, including 35 male, 38 female, all from educated classes, and, with the exception of 2 students and 3 pupils upper classes, or at least grow over the school years. The overall results are summarized in the following main table, the male and female judgments under m. and w. separately. This table contains indeed the number of persons united in a given color impression as of a given vowel. Where a person is between two color imprinting fluctuated, it is listed in each of the two colors with 0.5. Of diphthongs is merely been drawn and only asked some people after that. Persons who ever escaped the comparison are not included in the table, but where people levies a judgment about the impression many vowels, while the other they were indeterminate, these indeterminate sentences are below the horizontal section "unidentified" recorded. Since quite a few people feel the colors as dark (d) or light (h) or a peculiar nuance of detail given, these ancillary provisions are particularly grudge under the table. After this is followed by a second table, where the comparison judgments of several individuals whose specification might have an interest, are especially compiled, namely 1) by Prof. C. Hermann, who asked a great deal about the aesthetic impression of color, 2) the brother of Prof . publicans as pattern designer, the painter Krause} 3, and 4) the composer Franz von Holstein, 5) a musically educated lady, Anna Anschtz, born Volkmann, and finally 4 males and 6 females, whose judgments in the registers those are listed, which were issued with a special determination. Besides the unambiguous abbreviations means therein, as in the directory qualifiers, yellow g, gn. green, large gray, or. orange, bright h, d dark. Table impression about the colors of the vowels.

a m. white black 11 0 w. 15 1 m. 3 0

s w. 4.5 0 m. 3 0

i w. 3 0 m. 0 1

o w. 0 6 m. 0 10

u w. 0 14 m.

w.

red Orange yellow green blue purple violet gray brown shiny perusal.

7 0 0 0 2 0 0 0 0 0 0

8 0 0 1 8 0 0 0 0 0 0 4

1 0 10 7 1 0 0 3 0 0 0 10

1 0 11 6 8.5 2 0 1 1 0 1

4 0 13 5 1 0 0 0 0 4 0

5.5 1 7 1 0 0 1 0 1 0

8 0 2 5 0 2 1 3 0 0

8 0 2 3 6 0 1 3 2 0 0 5

0 0 0 1 6 0 1 0 0 11

1 0 0 2 2 2 0 0 0 4 1 0 3 1 0 0 0 1 5 0 0 0 1 1

14.5 0

0.5 6 5.5 8

unidentified 14

2 7 4 10 Individual qualifiers.

a . male d bl., not bl d. - Female. some d r., carmoisinr. not dr, knigsr., bl h. e . fahlg male., citrong., dg, not sure gn., zieml. Sure gn. - Female. pink, bl h. 3 times, d bl. H, holzbr. i . citrong male h., obscuring. r., and. gn. 2 times, also is under shiny when i listed: metallic, gloss stabbing, stinging yellow, feuerg, of which two are also yellow with yellow.. o male purple, d gn., d bl., deep bl., blue-gray, black. - Female. purple, dr, golden, d bl. 2 times, knigsbl. u . male brown dark green, br d., sepiaschw. - Female. d gn., purple 2 times d, d br. 4 times, sepiabr. . schwefelg male., zimmtfarben, yellow-green., wasserbl. - Female. gelblichgr. Speziale judgments.

a C. Hermann, color esthetician Publican, pattern designer Krause, painter von Holstein, musicians w. r. r. w.

s bl. w. or. gn.

i g metal. w. g

o r. d bl. bl. purp.

u gn. swan. swan. br.

gr

wass. bl.

A. Anschtz, musikal. Very Decisive. Prof. Emil Kuntze Hr. Platzmann Otto Moser Karl Volkmann, students Lisb Fr. Volkmann Miss Isid. Grimmer Miss E. Mayer Miss Kuhn Miss von Plalzmann

w.

perusal.

fire color. g r. g g hellbl. Hochr. gn. gn. or.

swan.

viol.

gr

r. w. w. w. swan. bl. r. r. w.

gn. g gn. gn. w. w. w. od h.bl. bl. h.bl.

bl. sattbl. r. r. viol. br. br. gr dr

bl. swan. swan. br. br. swan. swan. swan. viol. gr gr gr

Mrs. Dr. contactor r. bl. g gn. swan. Following the general rules that can be drawn about from previous tables. On the whole, seem a , e , i , as a bright, o, u as darker. The most decided impression among the vowels do i as a yellow, a white as, u as black, what the numbers are close to the same. But e has only with less overweight than i yellow red appears as the main character, however, o with the main character, both, but probably only because e in the word yellow, O in the word appears red, while for i such an association is not asserted can be. Apart from white and black, which are not as actual colors from so would red on a brown and blue on soon u fall, but has also o, next to the Red associative probably only entitled to blue. If some people, especially women, have found o black, it could contribute to o is often used as a cry of pain after a remark by Dr. Grabau (one of my fellow collectors of votes). In relation to the green make e and i just as in the second order, as in Subject of the yellow in the first order, competition, what with i probably affects that i is related to the words occurring in green above. Designations, which indicate shine, come only at i on. Never has a yellow, e and i black, o, and u know u been found yellow, a once black, u only once red. Which, by association probably explicable, except a = black coat, into the second Table listed Lisb woman. V. to which at the same time also occurring only once, compared i = blue has, nevertheless their judgment precipitated with great determination. The exception u = red comes to the woman or the Miss Louise Fischer, who also a green, e deutl. yellow, i deutl. was white, and also of the consonants k and w an impression as respektiv had brown and gray. Although, the associative effect of the vowel, which enters into the word designation of a color on the previous here and there no mistaking probably he is much less noticeable than I had expected, and seems to play only a minor role, or else would have the results by name for a , i and u have been very different.

Very characteristic differences between the male and female comparison judgments are not to be found in the whole, and in any case should the number of mutual judgments be much larger in order to win a decision. Striking remains the relatively strong preponderance of the impression of blue in a and e , and o in black on the female side opposite the male. Except with colors makes the impression of vowels and probably even some other comparison. Prof. C. Hermann mentioned to me a comparison with the temperaments. During arepresenting a balance between the different temperaments corresponded e phlegmatic, i the sanguine, choleric o, u the melancholic temperament. In fact, not only would I even agree with this comparison, but also others who I questioned why it did, except that one e was too lively for the phlegm. Mrs. Anna A., who is listed in the second table, found a , e , i the major musical, o, and u the minor accordingly.

Used catalogs.

Amsterdam. Beschriving the Schilderijen ops te Amsterdam Rijksmuseum. In 1858. Antwerp. Catalogue du Muse d'Anvers, without year. Berlin . a) List d Gemldesamml. d royal. Mus. to Berlin. In 1834. b) Delay d Gemldesamml. Consul of Wagener. , 1861. Brunswick . Pape, dir d Gemldesamml. d Ducal. Mus. for Brunswick. In 1849. Brussels. Fetis, Catalogue descript. et histor. du Mus. roy. de Belgique. In 1804. Darmstadt. Mller, Description. d Gemldesamml. Groherzogl in d. Mus. For Darmst. Dijon. Notice of objects d'art exposs au Mus. de Dijon. In 1860. Dresden . Huebner, of the Royal Dir. Pursuant to Gall. For Dr. in 1856. Florence. Chiavacchi, Guida della R. Gall. del Palazzo Pitti. In 1864. Frankfurt . Passavant, dir d public. Ausgest. Kunstgeg. d Stdel Art Institute. In 1844. Leipzig. a) Delay d art d stdt Mus. for Leipzig. , 1862. b) Delay d Lhrschen According p for L. 1859. London. The National Gallery, pictures, etc. Without its year. Madrid . Pedro da Madrazo, Catalogo de los del real quadros Mus. De Pintura y Escultura. In 1843. Milan. Pinacotheca Guida per la regia di Brera. Munich. a) Delay d d According to royal. Art Gallery for M., 1860.

b) Delay d d new royal Acc. Pinak. in M., 1861. Paris . Villot, Notice of tabl. exp. dans les gal du Mus. imp. du Louvre. In 1859. Petersburg . Scales, the painting. kaiserl in d. Hermitage at St. Pet 1864. Venice . Catalogo degli oggetti d'arte exposti al Publico nella L. Roy. Acad. di belli arti in v. 1864. Vienna. v. Mechel, dir d Gem of the Imperial Bildersamml. , 1781. The catalogs of several galleries, which also still standing at my command, could not be used, in part, because they did not contain dimensions, partly because the values are in Fussen, inches was not attached which foot was used here, and it seemed certainly not everywhere that the usual understanding of the land underneath.