igh indifference and freedom of mind, united with power and
elasticity, is the disposition in which a true work of art ought to
dismiss us, and there is no better test of true aesthetic excellence. If
after an enjoyment of this kind we find ourselves specially impelled to a
particular mode of feeling or action, and unfit for other modes, this
serves as an infallible proof that we have not experienced any pure
aesthetic effect, whether this is owing to the object, to our own mode of
feeling--as generally happens--or to both together.

As in reality no purely aesthetical effect can be met with--for man can
never leave his dependence on material forces--the excellence of a work
of art can only consist in its greater approximation to its ideal of
aesthetic purity, and however high we may raise the freedom of this
effect, we shall always leave it with a particular disposition and a
particular bias. Any class of productions or separate work in the world
of art is noble and excellent in proportion to the universality of the
disposition and the unlimited character of the bias thereby presented to
our mind. This truth can be applied to works in various branches of art,
and also to different works in the same branch. We leave a grand musical
performance with our feelings excited, the reading of a noble poem with a
quickened imagination, a beautiful statue or building with an awakened
understanding; but a man would not choose an opportune moment who
attempted to invite us to abstract thinking after a high musical
enjoyment, or to attend to a prosaic affair of common life after a high
poetical enjoyment, or to kindle our imagination and astonish our
feelings directly after inspecting a fine statue or edifice. The reason
of this is, that music, by its matter, even when most spiritual, presents
a greater affinity with the senses than is permitted by aesthetic
liberty; it is because even the most happy poetry, having for its medium
the arbitrary and contingent play of the imagination, always shares in it
more than the intimate necessity of the really beautiful allows; it is
because the best sculpture touches on severe science by what is
determinate in its conception. However, these particular affinities are
lost in proportion as the works of these three kinds of art rise to a
greater elevation, and it is a natural and necessary consequence of their
perfection, that, without confounding their objective limits, the
different arts come to