Art Principles

in the respective arts-

ter and sculptor each presents a complete picture, the meaning of which is immediately determined through the sense of sight, and the extent of the beauty is bounded by what can be recognized by this sense. All the signs necessary to perfect the composition are simultaneously indicated, the artist exhibiting at one blow a full description of what makes up his thing of beauty. But the poet cannot so produce a picture because he presents the parts successively and not simultaneously, and in the most important of all the forms which he represents-that of the human countenance-both beauty and expression have to be defined, an

ould be that of the type and not of the individual. The beauty of a horse depends upon its possession of a collection of features which have each a particular significance. If we are able to recognize from a description that a horse has qualities of form and action indicating speed, high spirits, proud bearing, and so on, and at the same time has a harmonious symmetry in its general outline, a beautiful animal is thrown on the mind without difficulty. We readily picture the courser described by Shakespeare in his Venus and Adonis

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f the Central Figure in Fragonard's "The P

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ial beauty; the sculptor and painter may present general or particular sensorial beauty, and general, but not particular, beauty of mind. Particular sensorial beauty may be suggested by the poet or novelist, by indicating its emotional eff

passions which are beyond the plastic arts: hence his art is capable of the highest reaches. Next to him come the sculptor and painter, for they may represent ideal forms which must be excluded from fiction. Theoretically, painting and sculpture ar

ment of it, neither the beginning nor the end being visible. He must therefore choose an action of which the beginning and end are known, for while either may be suggested in a simple design, both cannot be implied so that the whole story is obvious. He has consequently to take his moment of action from a fact or fable in one of the literary arts, or from actual life experience.33 Where no particular action is

mitations imposed upon the artist. His wings are clipped: his imagination is confined within a narrow groove: he is converted from a master to a slave. Hence no great w

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