[157] Ibid. pp. 52, 53.
[158] Hemsterhuis, Œuvres, i. pp. 14-18, 24, 66 (Lettre sur la sculpture, Lettre sur les désirs). A similar thought was applied by Poe to the fundamental principles in poetic composition and has exercised a great influence on recent literary movements. Cf. Poe, Works, vi. pp. 3-6 (The poetic principle). For a further elaboration of this notion cf. Bourget, Études et portraits, i. pp. 225, 226; Hansson, Kåserier i mystik, pp. 140, 141; Symons, The Symbolist Movement, p. 137 (Stéphane Mallarmé).
[159] Carlyle, Sartor Resartus, p. 180.
[160] Wagner, Ges. Schriften, iv. p. 39 (Oper und Drama).
[161] Cf. chap. ii. in the preceding.
[162] Cf. the quotations adduced by Harnack, Die klassische Ästhetik, pp. 124, 143, 161, 164, 165. Cf. also von Stein, Goethe und Schiller, Ästhetik der deutschen Klassiker, pp. 25, 27.
[163] Taine, De l’idéal dans l’art, pp. 19, 50, 130, 175.
[164] For an interesting comparison between French and English ideals of art, compare the aphorisms of Mr. Quilter in Sententiæ Artis, pp. 7, 121, with the views of Taine, as expressed, for example, in L’idéal dans l’art, p. 148.
[165] Cf. Ruskin, Modern Painters, 1, i. ii. § 8; iii. iv. 3, §§ 21, 24, 28.
[166] Tolstoy, What is Art? Julius Lange, Om Kunstværdi. Cf. also the remarks in Carpenter, Angels’ Wings, the poetic theory of Holmes, as set forth in What is Poetry? and the definition of March, “Evolution and Psychology in Art,” Mind, N.S. v. p. 442.