nd means of a true execution,--_individual even
to the perfection of each type, general and varied as the infinite
shades of nature_.

In response to the allegation of Mengs, that "the sciences and
philosophy must necessarily have preceded the Beautiful in the arts," I
would call attention to the fact that celebrated artists--as Phidias and
Zeuxis for example--had produced their works long before the dialogues
between Socrates, Protagoras, Hippias and others, upon the True, the
Good and the Beautiful. The great painter and the great sculptor could
only have proceeded by the intuition of their genius, knowing nothing of
a law of aesthetics.

In that which remains to us of antiquity, I find nothing which implies
such an application of the human organism to the arts as that whose
discovery, promulgation, exemplification and teaching we owe to
Delsarte.

M. Eugene Veron, writer of our day, and author of remarkable works on
art, far from recognizing among the Greeks a law of aesthetics, writes
of Plato: "He considered ideas as species of divine beings, intermediate
between the Supreme Deity and the world. Theirs is the power of creation
and formation.... Matter unintelligent and self-formed is _nothing_, and
realizes existence only through the operation of the idea which gives it
its form. Aristotle begins by rejecting all this phantasmagory of
eternal and creative ideas. He fills the abyss between matter and
spirit. God, pure thought and being preeminent, brings all into
existence by his power of attraction which gives to all activity and
life."

We wander farther and farther from a law of aesthetics and its means of
application as established by Delsarte.

Of all the writers who have thoroughly examined antique art, Victor
Cousin would seem the one with whom Delsarte had most in common, if this
eminent philosopher were not a contemporary of the master and had not
attended his lectures, his artistic sessions and his concerts. In his
manner of treating art, this is often shown bywords and forms and
flashes of instinctive reminiscence which recall the great school. In
his book, "The True, the Beautiful and the Good" (edition of 1858), the
learned professor writes: "The true method gives us a law to start from
man to arrive at things. All the arts, without exception, address the
soul _through the body_."

He is on the way, but his position embraces neither the starting-point,
which is the law, nor any practical means t