ervatory, a
zenith whence the artist-philosopher viewed clearly the whole and the
details, he may be supposed to have gained light beyond any which could
have come to his predecessors.

I will, then, resume my parallel from this point of view.

The True, the Good and the Beautiful were not made, in the school of
Delsarte, objects of special teaching. By definitions, reflections and
illustrations of the master, they were shown to enter fully into the
science and method--a part of it distinguishable and inseparable. The
master, in his demonstrations, commonly employed various well-known
maxims which were always accredited to their authors. Thus, from Plato:
"The Beautiful is the splendor of the True." From St. Thomas Aquinas,
in regard to science: "In creation all is done by number, weight and
measure." From St. Augustine (for he often quoted from sacred works):
"Moral beauty is the brilliancy of the Good."

But I must proceed in order. I owe it to the sincerity of my endeavor to
explain first the aesthetic work of Delsarte as shown me by his own
teachings.

_The True._

The True Illuminates the Thought.

To determine the signification of the _True_, we must first ask what is
_truth?_ It has been defined as: "A fixed principle, an axiom." The term
truth has been applied to such or such maxims; but there are few
assertions not subject to discussion or which would be accepted as
decisive without comment. They have not that piercing clearness which
determines conviction by simple apprehension or at first sight.

The dictionary of the Academy is more explicit in its statement: "Truth
is the conformity of the idea to its object." But a preferable
definition is that of Madame Clemence Royer: "Truth is the concept of
the spirit in regard to the reality of things and the laws which govern
them." This philosophical statement is readily adapted to the True in
the arts, which is acquired by the observation of nature and adaptation
of the lawful ideal.

How, then, may we recognize the True in aesthetics according to this
definition? The artist, first and above all, should disregard no law of
nature, but when he aspires to great works, "the concept of his spirit
in regard to the reality of things and their laws" should lead him to
idealize what he sees, translating his personal conception of the
Beautiful and the Sublime, if his flight carry him so far.

The word Art is more comprehensive in that which it expresses, t