s effects appreciated first.--Approach to
beauty through useful structure.--Failure of adapted styles.--Not all
structure beautiful, nor all beauty structural.--Structures designed for
display.--Appeal made by decoration.--Its natural rights.--Its alliance
with structure in Greek architecture.--Relations of the two in Gothic
art.--The result here romantic.--The mediaeval artist.--Representation
introduced.--Transition to illustration. Pages 116-143

CHAPTER VIII

PLASTIC REPRESENTATION

Psychology of imitation.--Sustained sensation involves
reproduction.--Imitative art repeats with intent to repeat, and in a new
material.--Imitation leads to adaptation and to knowledge.--How the
artist is inspired and irresponsible.--Need of knowing and loving the
subject rendered.--Public interests determine the subject of art, and
the subject the medium.--Reproduction by acting ephemeral.--demands of
sculpture.--It is essentially obsolete.--When men see groups and
backgrounds they are natural painters.--Evolution of painting.--Sensuous
and dramatic adequacy approached.--Essence of landscape-painting.--Its
threatened dissolution.--Reversion to pure decorative design.--Sensuous
values are primordial and so indispensable Pages 144-165

CHAPTER IX

JUSTIFICATION OF ART

Art is subject to moral censorship.--Its initial or specific excellence
is not enough.--All satisfactions, however hurtful, have an initial
worth.--But, on the whole, artistic activity is innocent.--It is
liberal, and typical of perfect activity.--The ideal, when incarnate,
becomes subject to civil society.--Plato's strictures: he exaggerates
the effect of myths.--His deeper moral objections.--Their
lightness.--Importance of aesthetic alternatives.--The importance of
aesthetic goods varies with temperaments.--The aesthetic temperament
requires tutelage.--Aesthetic values everywhere interfused.--They are
primordial.--To superpose them adventitiously is to destroy them.--They
flow naturally from perfect function.--Even inhibited functions, when
they fall into a new rhythm, yield new beauties.--He who loves beauty
must chasten it Pages 166-190

CHAPTER X

THE CRITERION OF TASTE

Dogmatism is inevitable but may be enlightened.--Taste gains in
authority as it is more and more widely based.--Different aesthetic
endowments may be compared in quantity or force.--Authority of vital
over verbal judgments.--Tastes differ also in purity or
consistency.--They differ,