The Adjective Beautiful
THIS little book, like the great branch of mental science to which it is an introduction, makes no attempt to "form the taste" of the public and still less to direct the doings of the artist. It deals not with ought but with is, leaving to Critici... The Aims Of Art
WE have thus at last got to Art, which the Reader may have expected to be dealt with at the outset of a primer on the Beautiful. Why this could not be the case, will be more and more apparent in my remaining chapters. And, in order to make those c... The Character Of Shapes
IN my example of the Rising Mountain, I have been speaking as if Empathy invested the shapes we look at with only one mode of activity at a time. This, which I have assumed for the simplicity of exposition, is undoubtedly true in the case either of ... The Co-operation Of Things And Shapes
DURING the Middle Ages and up to recent times the chief task of painting has been, ostensibly, the telling and re-telling of the same Scripture stories; and, incidentally, the telling them with the addition of constantly new items of information abo... The Movement Of Lines
ANY tendency to Empathy is perpetually being checked by the need for practical thinking. We are made to think in the most summary fashion from one to another of those grouped possibilities, past, present and future, which we call a Thing; and in suc... The Storage And Transfer Of Emotion
IN dealing with familiarity as a multiplying factor of aesthetic appreciation, I have laid stress on its effect in facilitating the perception and the empathic interpretation of shapes. But repetition directly affects the emotion which may result fr...
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Empathy Sensations Information About Things Contemplative Satisfaction Elements Of Shape The Adjective Beautiful Subject And Object The Movement Of Lines

Conclusion Evolutional The Aims Of Art The Character Of Shapes Perception Of Relations Aspects Versus Things Attention To Shapes From The Shape To The Thing Aesthetic Responsiveness