The charms in beautiful Nature, which are so often found, as it were, blended with beautiful forms, may be referred to modifications either of light (colours) or of sound (tones). For these are the only sensations that imply not merely a sensible feeling but also reflection upon the form of these modifications of Sense; and thus they involve in themselves as it were a language by which nature speaks to us, which thus seems to have a higher sense. Thus the white colour of lilies seems to determine the mind to Ideas of innocence; and the seven colours in order from the red to the violet seem to suggest the Ideas of (1) Sublimity, (2) Intrepidity, (3) Candour, (4) Friendliness, (5) Modesty, (6) Constancy, (7) Tenderness. The song of birds proclaims gladsomeness and contentment with existence. At least so we interpret nature, whether it have this design or not. But the interest which we here take in beauty has only to do with the beauty of Nature; it vanishes altogether as soon as we notice that we are deceived and that it is only Art—vanishes so completely that taste can no longer find the thing beautiful or sight find it charming. What is more highly praised by poets than the bewitching and beautiful note of the nightingale in a lonely copse on a still summer evening by the soft light of the moon? And yet we have instances of a merry host, where no such songster was to be found, deceiving to their great contentment the guests who were staying with him to enjoy the country air, by hiding in a bush a mischievous boy who knew how to produce this sound exactly like nature (by means of a reed or a tube in his mouth). But as soon as we are aware that it is a cheat, no one will remain long listening to the song which before was counted so charming. And it is just the same with the songs of all other birds. It must be Nature or be regarded as Nature, if we are to take an immediate interest in the Beautiful as such; and still more is this the case if we can require that others should take an interest in it too. This happens as a matter of fact when we regard as coarse and ignoble the mental attitude of those persons who have no feeling for beautiful Nature (for thus we describe a susceptibility to interest in its contemplation), and who confine themselves to eating and drinking—to the mere enjoyments of sense.
§ 43. Of Art in general
(1). Art is distinguished from Nature, as doing (facere) is distinguished from acting or working generally (agere), and as the product or result of the former is distinguished as work (opus) from the working (effectus) of the latter.
By right we ought only to describe as Art, production through freedom, i.e. through a will that places Reason at the basis of its actions. For although we like to call the product of bees (regularly built cells of wax) a work of art, this is only by way of analogy: as soon as we feel that this work of theirs is based on no proper rational deliberation, we say that it is a product of Nature (of instinct), and as Art only ascribe it to their Creator.
If, as sometimes happens, in searching through a bog we come upon a bit of shaped wood, we do not say: this is a product of Nature, but, of Art. Its producing cause has conceived a purpose to which the bit of wood owes its form. Elsewhere too we should see art in everything which is made so that a representation of it in its cause must have preceded its actuality (as even in the case of the bees), though the effect could not have been thought by the cause. But if we call anything absolutely a work of art in order to distinguish it from a natural effect, we always understand by that a work of man.
(2). Art regarded as human skill differs from science (as can from know) as a practical faculty does from a theoretical, as Technic does from Theory (as mensuration from geometry). And so what we can do, as soon as we merely know what ought to be done and therefore are sufficiently cognisant of the desired effect, is not called Art. Only that which a man, even if he knows it completely, may not therefore have the skill to accomplish, belongs to Art. Camper[75] describes very exactly how the best shoes must be made, but he certainly could not make one.[76]
(3). Art also differs from handicraft; the first is called free, the other may be called mercenary. We regard the first as if it could only prove purposive as play, i.e. as occupation that is pleasant in itself. But the second is regarded as if it could only be compulsorily imposed upon one as work, i.e. as occupation which is unpleasant (a trouble) in itself, and which is only attractive on account of its effect (e.g. the wage). Whether or not in the graded list of the professions we ought to count watchmakers as artists, but smiths only as handicraftsmen, would require another point of view from which to judge than that which we are here taking up; viz. [we should have to consider] the proportion of talents which must be assumed requisite in these several occupations. Whether or not, again, under the so-called seven free arts some may be included which ought to be classed as sciences, and many that are akin rather to handicraft, I shall not here discuss. But it is not inexpedient to recall that in all free arts there is yet requisite something compulsory, or, as it is called, mechanism, without which the spirit, which must be free in art and which alone inspires the work, would have no body and would evaporate altogether; e.g. in poetry there must be an accuracy and wealth of language, and also prosody and metre. [It is not inexpedient, I say, to recall this], for many modern educators believe that the best way to produce a free art is to remove it from all constraint, and thus to change it from work into mere play.
§ 44. Of beautiful Art
There is no Science of the Beautiful, but only a Critique of it; and there is no such thing as beautiful Science, but only beautiful Art. For as regards the first point, if it could be decided scientifically, i.e. by proofs, whether a thing was to be regarded as beautiful or not, the judgement upon beauty would belong to science and would not be a judgement of taste. And as far as the second point is concerned, a science which should be beautiful as such is a nonentity. For if in such a science we were to ask for grounds and proofs, we would be put off with tasteful phrases (bon-mots).—The source of the common expression, beautiful science, is without doubt nothing else than this, as it has been rightly remarked, that for beautiful art in its entire completeness much science is requisite; e.g. a knowledge of ancient languages, a learned familiarity with classical authors, history, a knowledge of antiquities, etc. And hence these historical sciences, because they form the necessary preparation and basis for beautiful art, and also partly because under them is included the knowledge of the products of beautiful art (rhetoric and poetry), have come to be called beautiful sciences by a confusion of words.