| | | PAGE |
| | Translator's Preface | [vii] |
| | Prefatory Essay by the Translator | [xiii] |
| |
| [CHAPTER I]. |
| The Range of Æsthetic defined, and some Objectionsagainst the Philosophy of Art refuted (1-25). |
| [α. | Æsthetic confined to Beauty of Art | [2] |
| β. | Does Art merit Scientific Treatment? | [5] |
| γ. | Is Scientific Treatment appropriate to Art? | [8] |
| δ. | Answer to β. | [13] |
| ε. | Answer to γ.] | [20] |
| |
| [CHAPTER II]. |
| Methods of Science Applicable to Beauty and Art (26-42). |
| [1. | Empirical Method—Art-scholarship | [27] |
| (a) Its Range | [27] |
| | (b) It generates Rules and Theories | [28] |
| (c) The Rights of Genius | [38] |
| 2. | Abstract Reflection | [40] |
| 3. | The Philosophical Conception of Artistic Beauty, general notion of] | [41] |
| |
| [CHAPTER III]. |
| The Philosophical Conception of Artistic Beauty, beginning with Current Ideas of Art (43-105). |
| Part I.—The Work of Art as Made and as Sensuous | [43-78] |
| 1. | Work of Art as Product of Human Activity | [48] |
| [(a) Conscious Production by Rule | [48] |
| (b) Artistic Inspiration | [50] |
| (c) Dignity of Production by Man | [54] |
| (d) Man's Need to produce Works of Art] | [57] |
| 2. | Work of Art as addressed to Man's Sense | [60-78] |
| [(a) Object of Art—Pleasant Feeling? | [60] |
| (b) Feeling of Beauty—Taste | [63] |
| (c) Art-scholarship | [65] |
| (d) Profounder Consequences of Sensuous Nature of Art | [66] |
| (α) Relations of the Sensuous to the Mind | [67] |
| (αα) Desire | [68] |
| (ββ) Theory | [70] |
| (γγ) Sensuous as Symbol of Spiritual | [72] |
| (β) The Sensuous Element, how Present in the Artist | [74] |
| (γ) The Content of Art Sensuous] | [78] |
| Part II.—The End of Art. |
| 3. | [The Interest or End of Art | [(79-106)] |
| (a) Imitation of Nature? | [79] |
| (α) Mere Repetition of Nature is— | [79] |
| (αα) Superfluous | [80] |
| (ββ) Imperfect | [80] |
| (γγ) Amusing merely as Sleight of Hand | [82] |
| (β) What is Good to Imitate? | [83] |
| (γ) Some Arts cannot be called Imitative | [85] |
| | (b) Humani nihii—? | [87] |
| | (c) Mitigation of the Passions? | [90] |
| (α) How Art mitigates the Passions | [91] |
| (β) How Art purifies the Passions | [94] |
| (αα) It must have a Worthy Content | [95] |
| (ββ) But ought not to be Didactic | [95] |
| (γγ) Nor explicitly addressed to a Moral Purpose | [98] |
| | (d) Art has its own Purpose as Revelation of Truth] | [105] |
| |
| [CHAPTER IV]. |
| Historical Deduction of the True Idea of Art in Modern Philosophy (107-132). |
| 1. | Kant | [107] |
| [(a) Pleasure in Beauty not Appetitive | [110] |
| (b) Pleasure in Beauty Universal | [111] |
| (c) The Beautiful in its Teleological Aspect | [112] |
| (d) Delight in the Beautiful necessary though felt] | [113] |
| 2. | Schiller, Winckelmann, Schelling | [116] |
| 1. | The Irony | [120] |
| |
| [CHAPTER V]. |
| Division of the Subject (133-175). |
| [1. | The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form | [133] |
| 2. | Part I.—The Ideal | [141] |
| 3. | Part II.—The Types of Art | [144] |
| (α) Symbolic Art | [145] |
| (β) Classical Art | [148] |
| (γ) Romantic Art | [151] |
| 4. | Part III.—The Several Arts | [157] |
| (α) Architecture | [160] |
| (β) Sculpture | [162] |
| (γ) Romantic Art, comprising | [164] |
| (i.) Painting | [167] |
| (ii.) Music | [169] |
| (iii.) Poetry | [171] |
| 5. | Conclusion] | [173] |