We cannot, however, pursue the matter here into further detail.
(c) But the earlier fashion of this "theory-spinning," no less than the laying down of rules for the executant already adverted to, has already been thrust on one side despotically in Germany—mainly owing to the appearance of genuine living poetry—and the right of genius, its work and effects, have had their full independence insisted upon as against the pretensions of such rules of thumb and the broad water-ducts of theory. From this foundation of an art which is itself of truly spiritual rank, as also of a sympathy and absorption of the same, have arisen the receptivity and freedom which make it possible for us to enjoy and appreciate great works of art which have long since been within our reach, whether it be those of the modern world, of the Middle Ages, or of wholly foreign peoples of the Past, the works of India for example; works, which, in virtue of their antiquity or the remoteness of their nationality, possess unquestionably for ourselves a side alien to ourselves; but which, if we consider the way in which their content passes over and beyond such national limits, and the matter in it of common appeal to all mankind, can only be hallmarked by the prejudice of theory among the products of a barbarous or corrupt taste. This recognition of works of art anywhere and everywhere, works which depart from the specific circle and forms of those upon which in the main the abstractions of theory were based, has, as a primary consequence, led to the recognition of a peculiar type of art—-the romantic art. It became necessary to apprehend the notion and the nature of the beautiful in a profounder way than these theories attempted. With this fact another, too, cooperated, viz., that the notions in its form of apperception, the mind as pure thought on its part reached in philosophy a point of profounder self-cognition, and was thereby compelled forthwith to grasp the essence of art too on profounder lines. In this way, even in virtue of the point in the process reached of this general evolution of human thought, the type of theorizing upon art we have described, both relatively to its principles no less than their elaboration, has become obsolete. It is only the scholarship of the history of art which retains an abiding value, and must continue to retain it in proportion as the boundaries of its survey have enlarged in every direction by means of the advance made in man's powers of receptivity already noticed. Its business and function consists in the aesthetic appreciation of particular works of art and the knowledge of the historical, in other words the external conditions from which the work of art originates. It is an attitude of the mind, which, if assisted with sound sense and critical insight, supported too with historical knowledge, is an indispensable condition to the complete penetration into the individuality of a given work of art. The many writings of Goethe upon art and works of art are an excellent illustration. Theorizing, in the specific sense noticed, is not the aim of this type of examination, although no doubt it not unfrequently also busies itself with abstract principles and categories, and may drop into such a style unconsciously. If, however, without letting such deviations on our route detain us, we keep before our vision those concrete illustrations of artistic works, such at least, whatever else they may do, supply a philosophy of art with the visible warrant and confirmation of actual work, into the historical detail of which, in each particular case, philosophy is not permitted to enter.
This then may be accepted as the first method of art study. It starts from the particular work which we have before us.
2. The method or point of view to be contrasted with this, in other words an entirely theoretical reflection, which is concerned to cognize the beautiful as such from its own intrinsic wealth, and to penetrate to the idea of it, is essentially distinct from the first method. As is well known, Plato was the first to demand of philosophical inquiry in a profounder sense, that objects should not be cognized in their particularity, but in their universality, in their generic type, their essential being and its explicit manifestation. He maintained that this true essence[30] did not consist in particular actions which were good, in particular true opinions, handsome men or beautiful works of art, but in goodness, beauty, and truth in their universality. Now if in fact the beautiful ought to be cognized according to its essence and notion, this can only be effected by means of the thinking notion[31], by means of which the logical and metaphysical nature of the Idea as such, as also of that of the particular Idea of the beautiful enters into the thinking consciousness. But the consideration of the beautiful in its self-independence and its idea may readily once more become an abstract metaphysic; and even though Plato is accepted as founder and pioneer, the Platonic abstraction no longer supplies all we require, not even for the logical Idea of the beautiful. We are bound to grasp this idea more profoundly and more in the concrete. The emptiness of content which clings to the Platonic Idea, no longer satisfies the richer philosophical requirements of the mind to-day. It is no doubt the case that we also in the philosophy of art must make the Idea of the beautiful our starting point; but it is by no means inevitable that we should adhere to the Platonic ideas in their abstraction, ideas from which the philosophy of the beautiful merely dates its origins.
3. The philosophical idea of the beautiful to indicate at any rate its true nature provisionally, must contain both extremes which we have described mediated in itself. It must combine, that is to say, metaphysical universality with the determinate content of real particularity. It is only by this means that it is grasped in its essential no less than explicit truth. For on the one hand it is then, as contrasted with the sterility of one-sided reflection, fruit-bearing out of its own wealth. It is its function, in consonance with its own notion, to develop into a totality of definite qualities, and this essential conception itself, no less than its detailed explication, comprises the necessary coherence of its particular features as also of the progress and transition of one phase thereof into another. On the other hand, these particulars into which the passage is made essentially carry the universality and essentiality of the fundamental notion, as the particulars of which they appear. The modes of inquiry hitherto discussed lack both these aspects, and for this reason it is only the notion, as above formulated, in its completeness, which conducts us to definitive principles which are substantive, necessary, and self-contained in their completeness.
III
After these preliminaries we come to closer quarters with our actual subject-matter, namely, the philosophy of Fine Art[32]; and for the reason that we are undertaking to treat it scientifically, our commencement must be with the notional concept of the same. It is only after we have definitely ascertained this that we can map out the division of its parts, and with it the plan of the science as a whole. A division of this kind, if it is not to be, as is the case with non-philosophical inquiry, undertaken in a purely external way, must discover its principle in the notion of the subject treated itself.
Face to face with such a demand we are at once met by the question: "Whence do we arrive at such a conception?" If we begin with the notional concept of Fine Art itself the same at once becomes a pre-supposition and mere assumption. Mere assumptions, however, are excluded from the philosophical method; whatever here is allowed as valid must have its truth demonstrated, in other words must be established in its necessity.