Landscape, 133 et seq.
with figures, 135, 136.
Liberation of self, 233 et seq.
Love, influence of the passion, 56 et seq.
Lowell, J. R., quoted, 148.
Lower senses, 65 et seq.
Lucretius, quoted, 172.
on the sublime, 236.
Maps, 209, 210.
Material beauty most easily appreciated, 78 et seq.
its effect the fundamental one, 78.
Materials of beauty surveyed, 76 et seq.
Methods in aesthetics, 5.
Michael Angelo, 182.
Miser's fallacy, its parallel in morals and aesthetics, 31, 32.
Modern languages inferior to the ancient, 173, 174.
Molière, 174; quoted, 20.
Monarchy, its imaginative value, 34, 35.
Moral and aesthetic values, 23 et seq.
the authority of morals over aesthetics, 218 et seq.
Morality and utility jealous of art, 216, 217.
Multiplicity in uniformity, 97 et seq.
its defects, 106 et seq.
Musset, Alfred de, quoted, 170, 226.
Mysticism in aesthetics, 126 et seq.
Naturalism, the ground of its value, 21.
Nature, its organization the source of apperceptive forms, 152 et seq.
the love of it among the ancients, 137, 138.
New York, the plan of the streets, 95.
Nouns, idea of a language without them, 171.
Objectification the differentia of aesthetic pleasure, 44 et seq.
Ornament and form, 63 et seq.
Othello, 237.
Ovid, quoted, 149.
Pantheism, its contradictions, 242, 243.
Perception, the psychological theory of it, 45 et seq.
Perfection, illusion of infinite, 146 et seq.
possibility of finite, 258 et seq.
Physical pleasure distinguished from aesthetic, 35 et seq.
Physiology of the perception of form, 85 et seq.
Picturesqueness contrasted with symmetry, 92.
Platonic ideas useless in explaining types, 117, 118.
Platonic intuitions, their nature and value, 8 et seq.
Platonists, 159.
Plot, The, 174 et seq.
Preference ultimately irrational, 18 et seq.
necessary to value, 17, 18.
Principles consecrated aesthetically, 31 et seq.
Purity, The aesthetic principle of, 70 et seq.
Rationality, the source of its value, 19, 20.
Religious characters, their truth, 188.
imagination, 185 et seq.
Rhyme, 173, 174.
Romanticism, 150.
Schopenhauer, 263.
criticised, 37,
note, on music, 69.
Scientific attitude in criticism opposed to the aesthetic, 20, 21.
Sculpture, its development, 153, 154.
Self not a primary object of interest, 39, 40.
Sensuous beauty of fundamental importance, 80, 81.
Sex, its relation to aesthetic life, 56 et seq.
Shakespeare, 151, 174, 175;
quoted, 51, 114, 229, 237, 251.
Shelley quoted, 12, 244, 253.
Sight, its primacy in perception, 73, 74.
Size related to beauty, 123, 124.
Sky, The, its expressiveness, 8.
Social interests and their aesthetic influence, 62 et seq.
Socrates, his utilitarian aesthetics, 157.
Sonnet, The, 173.
Sound, 68 et seq.
Space, its metaphysical value, 66, note.
Stars, the effect analyzed, 100 et seq.
Stendhal, 61.
Stoic Sublime, The, 241.
Straight lines, 89, 90.
Subjectivity of aesthetic values, 3,4.
Sublime, The, its independence of the expression of evil, 239 et seq.
Sublimity, 233 et seq.
Sybaris, 216.
Symbolists, 144.
Symmetry, 91 et seq.
a principle of individuation, 93.
limits of its application, 95.
Syntactical form, 171 et seq.
Tacitus, 173, 252.
Terms, the first and second terms in expression defined, 195.
influence of the first term in the pleasing expression of evil, 226 et seq.
Theory a method of apperception, 138 et seq.
Tragedy mitigated by beauty of form and the expression of good, 228, 229.
mitigated by the diversity of evils, 229.
mixed with comedy, 224, 225, 228.
consists in treatment not in subject, 224.
Translation necessarily inadequate, 168.
Truth, grounds of its value, 22, 23.
Truth, mixture of the expression of truth with that of evil, 228 et seq.
Types, their origin, 116 et seq.
their value and that of examples, 112 et seq.
Ugly, The, not a cause of pain, 25.
Universality not the differentia of aesthetic pleasure, 40 et seq.
Utility the principle of organization in nature, 155 et seq.
its relation to beauty, 157 et seq.
the principle of organization in the arts, 160 et seq.
Value, aesthetic value in the second term of expression, 205 et seq.
all in one sense aesthetic, 28 et seq.
physical, practical, and negative transformed into aesthetic, 201 et seq.
Venus of Milo, 165, note.
Virgin Mary, The, 189, 190.