Meanwhile all we can venture to say is that as satisfaction derived from shapes we call beautiful, undoubtedly involves intense, complex, and reiterative mental activities, as it has an undeniable power for happiness and hence for spiritual refreshment, and as it moreover tends to inhibit most of the instincts whose superabundance can jeopardise individual and social existence, the capacity for such aesthetic satisfaction, once arisen, would be fostered in virtue of a mass of evolutional advantages which are as complex and difficult to analyse, but also as deep-seated and undeniable, as itself.
BIBLIOGRAPHY
I. Lipps. Raumaesthetik, Leipzig, 1897.
" Aesthetik, vol. I. part ii., Leipzig, 1906.
II. Karl Groos. Aesthetik, Giessen, 1892.
" Der Aesthetische Genuss, Giessen, 1902.
III. Wundt. Physiologische Psychologie (5th Edition, 1903), vol. III. pg. 107 to 209. But the whole volume is full of indirect suggestion on aesthetics.
IV. Münsterberg. The Principles of Art Education, New York, 1905. (Statement of Lipps' theory in physiological terms.)
V. Külpe. Der gegenwärtige Stand der experimentellen Aesthetik, 1907.
VI. Vernon Lee and Anstruther-Thomson. Beauty and Ugliness, 1912 (contains abundant quotations from most of the above works and other sources).
VII. Ribot. Le Rôle latent des Images Motrices. Revue Philosophique, March 1912.
VIII. Witasek. Psychologie der Raumwahrnehmung des Auges (1910). These two last named are only indirectly connected with visual aesthetics.
For art-evolutional questions consult:
IX. Haddon. Evolution in Art, 1895.
X. Yrjö Hirn. Origins of Art, Macmillan, 1900.
XI. Levinstein. Kinderzeichnungen, Leipzig, 1905.
XII. Loewy. Nature in early Greek Art (translation), Duckworth, 1907.
XIII. Delia Seta. Religione e Arte Figurata, Rome, 1912.
XIV. Spearing. The Childhood of Art, 1913.
XV. Jane Harrison. Ancient Art and Ritual, 1913.
INDEX
Aesthetic:
aridity, 136-7;
imperative, 99-100;
irradiation, 147-52;
purification, 149-52;
responsiveness, active nature of, 128-36;
habit and familiarity affecting, 134-6
Altamira cave frescoes, 95
Art:
differential characteristic of, 116-18;
non-aesthetic aims of, 99-100, 137-8; utility of, 153-5
Aspect:
aesthetics concerned with, 15, 21, 105;
shape the determining feature of, 26-8
Attention, a factor distinguishing perception from sensation, 32
Balfour, H., 95
Beautiful:
aesthetic irradiation proceeding from use of adjective, 147-8;
attitude implied by use of adjective, 2-7, 18-19;
empathy the chief factor of preference, 67-8;
implies desire for reiterated perception, 53-4
Botticelli, 83
Brahms' German Requiem, 150
Browning's Abt Vogler, 141
Coleridge's Ode to Dejection, 131
Colour, passive reception of, 23-4, 29
Contemplative satisfaction marking aesthetic attitude, 8-15
Correggio's Danae, 151
Cubic Existence:
perception of, 85;
pictorial suggestion of, importance attached to, discussed, 101-5