PRESCHOOL

THE

AESTHETICS
Part I
BY

Gustav Theodor Fechner.

LEIPZIG
PRINTING AND PUBLISHING OF Breitkopf & Hrtel. 1876

Preface. The notion of a pre-aesthetics is a rather indefinite, as the so far published from the comparison under this title works is, as of Jean Paul (1st edition 1804, 2nd edition 1813, etc), byRuge (2 . edition 1837), by Eckardt (1863-64), by Egger (1872). Without me now to try to resolve this indeterminacy or fix, I use only to give this book a short appealing title in the following meaning is the same here. It is a series of essays in two parts aesthetic content without systematic follow and freer treatment than would be suitable for a system of aesthetics offer, but which are likely to be suitable for introducing into a more general interest in this teaching. So they are indeed very general questions, but with constant use, speziale to treat these conditions, also go into some of those sections and in especial hold the intention for your easy understanding everywhere. In the first two, serving as an introduction, sections I'll explain myself about the principles that underlie the entire statements in this publication is based. In order to summarize in a few words anticipate, so this writing renounces the attempt to determine the objective nature of beauty conceptual, and develop from here the system of aesthetics, but contented themselves with the concept of beauty as an auxiliary term in the sense of linguistic usage the short name of what unites the vast Conditions immediate pleasure to use, examines the empirical conditions of this pleasure to pursue, hereby the emphasis lays rather be out on the laws of pleasure rather than conceptual evolutions from the definition of beauty, and replaced the concept of so called . objectively beautiful by the concept of what is immediately pleased with regard to its relationship to good. It will ask, however, whether I meet the inclination, this way, the answer to the otherwise prevailing way, but from the bottom up than down from the top, and over

leads to clear the height, as steady as he is taken here to follow. That it can not be achieved Everything you could want from an aesthetic that is granted by me, while I try to prove by the following self-evident that one can achieve many things with what an aesthetic higher style in an opposite way to be desired leaves something to be. One may so if nothing else, search the following is a supplement to such activity, and remember that it is not a fault of a font to have missed some of what can be found in other writings. Although, the following articles are intended to complement each other in turn, grab it here and there with their contents into each other. So and that they were partly independent of each other, has carried some reps that you might not find very annoying, and I do not have anywhere by references to spare, not to break the connection between the representation. The first part of this document focuses on identification of content with more general conceptual and legal circumstances of the aesthetic area, which notably with embodiments and applications of two principles, which in the 6th and 9 Section are particularly discussed, as with the general principles of taste, and the second part will deal with general considerations on art, on various issues concerning the art, a further series of aesthetic laws and speziale some items. Some who only taken note of my writings other direction, it may seem strange that I am facing after by so many years of other subjects, work finally started to concern myself with aesthetics. Power but age, more mature, it is even so immature to any new employment. Meanwhile, it is rather the end than the beginning of a preoccupation with aesthetic things, from which this writing is an adult, an activity that was not always merely a sideline. For evidence of it, so to say show off my aesthetic service book, register here briefly what is previously entered by me in this area to the public without having certainly found in his isolation a long way into it. In 1839 I gave a pseudonym (as Mises) that kept the character of the other Misesschriftchen pamphlet, "On some images of the second Leipzig art exhibition (Lpz. Voss)", mainly in conflict against a false sense of idealization thereof, which in the recently (1875) published the collection "Small Fonts" von Mises is incorporated. - Against the exaggeration of the principle of the golden ratio I have some experimental facts in the essay "On the question of the golden ratio" in archive Weigel 1865. 100 asserted. - More generally, the idea of an experimental aesthetics of me in the papers of schs Soc. of Sciences. queued, writing "For experimental aesthetics" (Lpz. Hirzel, 1871), represented a continuation of what is still to be delivered. In the present work is in the 14th Section, where a sample of their execution. - "On the aesthetic principle of association" is a memoir of my Lutzow's periodicals. 1866 included the extension of some one in the 9th Sections of this specification is again found. - On the mainly Although historical, but in the aesthetic to enter gambling, disputes over the two copies of the so-called par Holbein'schen Madonna I was in the essay "The dispute over the two Madonnas by Holbein" in Grenzb. In 1870. II, participated in the pamphlet "On the question of the authenticity Holbein'schen Madonna" (Lpz. Br and H., 1871), and several essays in Weigel's Arch

(1866-1869). - A public aesthetic experiment with the comparisons of these copies is employed by me on the occasion of the Holbein exhibition in 1871, in what the small text "Report on the designed for the Dresden exhibition Holbein album" (Lpz. Br and H 1872 is) reported. 1) - At last I gave lectures in different years at the Leipzig Art Association about individual aesthetic issues and the University on general aesthetics.
1) I

n is multiple public assessments above experiment, in direct contradiction with its declared intentions, partly due to carelessness of the judge, partly because of a nachgeschrieben other which the experiment is based rather on the authenticity question as to the aesthetic question, while I occasionally here custody again marquetry, since those judgments are very suitable to put my own judgment in question, and are likely to be more widespread than the above, in fact, little has become known, pamphlet, which sets out the facts of the experiment.

Content. I. The aesthetics of the top and bottom of II prenotions 1) pleasure and displeasure, pleasure and pain 2) Aesthetic, practical and theoretical categories, Good, Good, True value, interest 3) Aesthetic, Aesthetics 4) Eudmonistisches principle
III. Aesthetic laws or principles generally

Principle IV of the aesthetic threshold V. aesthetic principle of aid or increase VI. Principle of unified link of the manifold 1) Statement of Principle 2) Examples 3) Factual conflicts and support 4) More detailed provisions 5) of the general principle
VII principle of non-contradiction, or unanimity truth VIII Principle of clarity. Summary of the top three formal Prinzipe

IX. Aesthetic principle of association 1) Input

2) Examples 3) a statement of principle 4) association by similarity 5) Additional association 6) Temporal association. Intellectual and emotional judgments 7) simple associative character colors, shapes, layers 8) Man as the center of associations 9) analysis of associated impressions. Remarks about the creative power of the imagination 10) Gradual formation of the associated impression 11) The principle in higher use 12) Some general considerations X. Explanation of the scenic impression through the principle of association XI. Relationship between poetry and painting from the point of view of the association principle XII. Physiognomic and instinctive impressions XIII. Representation of the direct factor of aesthetic impressions compared to the associative 1) Preface 2) The direct factor in the music 3) The direct factor in the arts of visibility XIV Several attempts to set up a basic form of beauty. Experimental aesthetics. Golden section and square 1) attempts a normal or basic form of beauty to set up 2) the objections that can be raised against the usefulness of experimental and aesthetic studies at all and the same execution 3) methods of aesthetic experimental investigation. For example an embodiment of the method of choice. Insbesondre results in terms of golden section and square XV. Relationship of convenience for beauty
XVI. Commentary on some Schnaase's utterances in terms of architecture XVII. Of ingenious and witty comparisons, word games and other cases which have the character of Ergtzlichkeit, mirth, ridiculousness XVIII. The taste

1) Royal term 2) Dispute of taste 3) plant, cultivation of taste 4) principles of right or good taste

I. The aesthetics from above and from below.

The two ways of how human knowledge seeks to establish and develop, is also reflected in the aesthetics of the doctrine of pleasure and displeasure, or according to others the doctrine of beauty, contends. They were treated to a short prints from the top down by starting descends from general ideas and concepts for individuals, up from below by rising from the particular to the general. There one assigns the aesthetic experience of a field of top viewpoints constructed, only a conceptual framework and under, here you build the whole aesthetics due to aesthetic facts and laws of the bottom on. There is, first, while the highest authority to the ideas and concepts of beauty, art, style, its position in the system the most general terms, insbesondre their relationship to truth and good, and like it thus increases to the absolute, to divine, the divine ideas and the divine creative activity up. From the pure amount of such generalities and climb into the ground-empirical field of individual, time and place of beauty down, and measure every single thing on the scale of the general. Here you go from experience about what pleases and displeases out, based on this all the terms and laws that have to resort course in aesthetics, she studied under Mitrcksicht to the common law of obligation, where the pleasure must always remain subordinate to more and more to generalize and thus to arrive at a system the most general possible terms and laws. Both modes of treatment can also differ as well philosophical and empirical. Se they are not in conflict with each other, so far a correct and perfect knowledge of the first principles of being, the divine and human things, the principles must include a proper consideration of the aesthetic conditions, to hand a proper generalization of the experiential facts and laws of the must enter into aesthetic area in these findings. Both measured by the same area but in the opposite direction, and all are added the possibility of movement in one direction by such an in an opposite direction. However, both methods have their peculiar advantages, difficulties and dangers. The first way is to tell us that from the outset the goal to which we must aspire to the second only because of grants from the general view, the highest points, but you have access to it difficult to give a clear orientation of the reasons for pleasure and displeasure in detail, it has to be but also for us to do, and it remains more or less at undetermined pending, in its generality, the individual is not easily taken sharp terms. This is the way to run correctly, a correct output ahead, which you can find basically only in a perfect philosophical and even theological systems, which we both have not yet. Only many attempts the same we have, and we also have many attempts to set the aesthetics so in relationship, all still leave much to be desired, but meet it's need most general and highest points, and if the same does not fully satisfy , but get busy and awake. Also have these disadvantages as advantages in all very numerous representations of aesthetics and aesthetic modes of treatment issues, which have taken in response to Schelling, Hegel and Kant himself, the direction of the top so far, been more or less felt. The other way, however, the path from the bottom, grants or promises at least immediately clear guidance not only in the field of concepts, which are subordinated to the field of pleasure and displeasure, but also about the reasons of pleasure and

displeasure in detail and neighbor, but you can reach him difficult to common viewpoints and ideas, easily stays in detail, one-sided, points of minor value and subordinate significance self-conscious of how this shows especially in the English (as such Hutcheson. Hogarth, Burke, Hay and others) which preferably have chosen the path from below. According to the above, be at all the attempts that have since been made with treatment of aesthetics in the first sense, more can satisfy him who seeks his main interest in the subordination of things under general concepts or ideas, and takes place in any design the same satisfaction without the claims to provide clarity and objectivity higher than they now provide sufficient, however, an attempt to deal with the aesthetics in the second way, more satisfying to be able to the matters above all in an easy and clear orientation in the Closest, and in turn no greater height and universality claimed as of now is to just risen. In general we can say that on top of an aesthetic from the outset put higher demands, however, the aesthetics of the lower bottom, to make them more easily satisfied. Now if at all once the aesthetics of the top come to pass, which makes the right thing by the previous attempts the same in my opinion the highest and ultimate principles assumed that rather sought than has been achieved, it is even only by means of careful slow upgrades not only by the aesthetic field, but all the individual areas of human knowledge under Mitrcksicht. must be reached on practical demands. From there, however, is then allowed to return to the individual knowledge branches and they descend through, and not just any knowledge circle of itself will come in response to higher point of view, than those to which the only ascending paths through it alone had to be reached , but also its content through the connection with other branches of knowledge in other ways will appear motivated and explained than can step into the light on the ascending pathways. But such aesthetic aspects of higher remains a thing of the future, and past attempts thereof are rather likely to be the legitimate task to describe and present them to receive, but to fulfill. Thus, while it is in the same sense can provide a philosophical aesthetic style higher than the empirical, as there may be a natural philosophy of physics and physiology, if not already there. But as the right natural philosophy, to hope for, these lessons will not replace or out birth of a priori reason, but the same is subject to the prerequisite and support, without themselves losing in their specialties, so it is with the relationship of philosophical higher aesthetic style to the empirical. But unfortunately it still lacks far too much of the empirical support, and so it seems to me all our systems of philosophical aesthetics giant with feet of clay. We see from this well that I count down even aesthetics of the essential preconditions of formation of an aesthetics of the top, and I, in so far as other inadequate fulfillment of these preconditions to the path from the top as little clear, safe and successfully pursue would be able, as I find so far taken him, so I'll rather through strict compliance and tracking of Below is a mite to contribute to this performance look, which I to advance all the essential advantages thereof in claim suppose, without, in whose nature lying, to avoid disadvantages. The mere threats of

the same to escape, at least it should be directed striving. Well one may ask whether this does not unite the advantages and benefits of both ways in that it examines the transition from the top or from the bottom up with ideas based on principles from above. That sounds nice though, and really the way of the bottom has recently committed several times that, or the path from the top itself understood in this sense.Now the most general formal principles of thought and research of aesthetics from below as from above will remain in common with all areas of research, but otherwise it would be with the aesthetics as with physics here that do not yet by any light, so that the natural philosophy they tried to clear and to lead, confused and has been mistaken. Those looking for first light, and the way down is a way of such a search, this approach may not want to illuminate with the light already finished. As the essential tasks of a general aesthetic in my opinion are to call at all: Clarification of terms, which are subordinate to the aesthetic facts and circumstances and determine the laws which they obey what the art of teaching contains the most important applications. The treatment methods of aesthetics from above but preferably have had by seeking to replace the declaration of the facts of aesthetic laws by such terms or ideas instead of only to complete the first task in mind. In fact you can see in most of our textbooks and general treatises on aesthetics - but most of them follow the path from the top, - thus forming discussions and disputes about the proper definition of beauty, grandeur, Ugliness, the pleasant, fair ones, comic, tragic, the ridiculous, the humor, the style, the style, the art, the beauty of art and natural beauty, sub-orders of the individual to these terms, classifications of the entire aesthetic area from the point of view of the same, the main content of the presentation. But that is not yet exhausted the task of aesthetics. Because in all that concerns us aesthetically, the question is not only to be: what terms it ranks among themselves, at which place it is in the system of our concepts - one has to wonder which, however, it is the clear orientation in our fields of knowledge , - but the most interest and most important question will always remain: why like it or dislike it, and how far it is right to please or displease, and thereafter can only laws of pleasure and displeasure with the concurrence of the laws ought answer as to the question of why a body moves so and so and why do we have to move him, not with the concept and layout of the different ways of moving, but only with the laws of motion and consideration of the purposes on which to judge them , can respond. And as long as the conceptual explanations of aesthetics have not met with an explanation by laws, they remain a hollow frame. Also in the way of the definitions themselves but the way from the top of the einzuschlagenden Bottom of different ways here. In the latter way, the conceptual definition is merely attributed to ascertain the use of language, and where it varies, is the same across election and length to explain, so you know what it is in the factual investigation, but without the definition anticipate the result of such investigation or enter into beings provisions anticipate, making it easy to achieve clarity and comprehensibility, however, is the way of the above, the question of essence seeks to

answer regardless of the terms and concepts, hereby but the difficulty of a clear determination of the most general concepts transfers to all derived terms. Among the Germans, the processing of aesthetics in the way of top has far get the upper hand over the processing of the bottom depending on Kant, Schelling, Hegel, and keep up to now. With the influences of those philosophers but catch recently more and more those of Herbart, Schopenhauer, Hartmann mix itself; other hand, but also the aesthetics, be it still philosophical influences or more independent direction and development on the way from the bottom to relent with (Hartsen, Kirchmann, Kstlin, Lotze, Oersted, Zimmermann), and this is already part not in such a pure implementation than I had in previous characteristics in mind, some happen only in a limited version, so you can not say yet that this way was left with us at all. This then estimable empirical studies of modern times come into aesthetic specialty areas as bridge, Helmholtz, Oettingen, including 1) not finally art-critical considerations in abundance, which tend more or less to one or the other, on which all but enter into detail here; intention and to refer to the historic main relationships on the histories of the aesthetics of Lotze and of Zimmermann.
1)

Zeising, although homage in the main direction of the top, can thus not be forgotten, as he has sought to complement the philosophical foundation of the golden section through an empirical and support.

II preconceptions.
With difficult philosophical and theological preterminals in which the aesthetics of the top searches its reasoning, we have claimed that neither start nor will it lead us to follow, but what we need in our sense of explanations for the result, will also get the result. Meanwhile, there are certain terms or words used to designate concepts without the use you do in meeting aesthetic conditions absolutely no step and even can the concept of aesthetics does not make clear what it will nevertheless be well to premise a few observations, since the manner of use of these terms neither in life nor is firmly in science. Now it is in any case specify how we want to do our part it. The close relationship but in which the basic aesthetic concepts related to the practical and including ethical will, of itself cause it to connect with explanations about the first such on the last, and up to certain limits on the relationship of ethics to aesthetics itself respond. 1) pleasure and displeasure, pleasure and pain. We ever say that we like or dislike something, depending on it, our look or idea presented, the same issues a pleasurable or unpleasurable character. The pleasure which we feel directly the welfare taste of a dish, the pleasurable sensation of strength and health is not the pleasure in it, but have probably the lust of the idea that we taste something pleasant taste, or taste like the idea that we are healthy and in good forces. In these cases, the lust of the representational idea of inner states, which

defines the concept of pleasure, - and in any case allows the use of language to apply the concept of pleasure also on this - in other cases, the representational idea what the lust of pleasure depends, be brought directly by external reality itself, at the pleasure of a painting, a musical. Thereafter, the concept of pleasure and displeasure much depends on the terms of pleasure and pain, and examination of the conditions of pleasure and displeasure falls in part directly related to those of pleasure and pain, sometimes it goes back to those. Herbart (Lehrb. for Einl in d Philos. 82, tot. WI 122) stands an explanation of the concepts of pleasure and displeasure by the fact that it attaches them an original evidence, which I do not seem cogent, if those terms even a return on other terms allow, where such evidence is only fair. He closes internal states of the areas of that to which the concept of pleasure is applicable from by reflected, among other in this regard: "The use of language is confused when someone says the smell of hyacinth like better than the smell of me lily. because in the expression like it is something that pleases because, as something determined in mind zustellendes provided. Nobody but can smell a flower, which is a feeling in him, to tell others still refer to it as an object of contemplation. " - This seems to me to be only motive and effect restricted the use of language rather than clarified the contrary. It is common ground in the desire nature, which may be present as an external object the consideration of the interior state, something in common, which is a common name calls, and since the language has introduced the term pleasure for it, there is no reason for him to one side limit. Herbart is also can not prevent that you still find that not only delight in the smells of a flower, taste of food, but also seen in at any lustful imagination. Pleasure and pain itself, pure and abstract taken from all secondary rules are simple, not further analyzable provisions of our soul, but not so abstract in reality exist as to which we may be taken zukommenden assets of abstraction, but as codetermination or resultants, if you want features that other soul provisions to which they give a character and thereby receive a character. Depending on the nature of their co-determination or causal factors then you are different types of pleasure and pain. The pleasure of good taste of a dish is far different than another, as when listening to a beautiful music, the joy of feeling loved to know on a pleasant smell, like when viewing a beautiful painting to another, as honored to know the pleasure in any of an active employment other than at some receptive impressions. Itself remains Lust, gold remains as gold, but they can be like the gold received in various compounds and excreted from a variety of conceptual connections. In fact. would not it - here and there, but one has denied that there is an everywhere identical with itself the essence of lust, - where the need for a common name for it in all those cases, when nothing would Identical to designate. Yes believe it only the first, and any other instances of the occurrence of pleasure to give as often occurring cases of displeasure over, one is for all the differences that exist on each side for themselves, but feel that each side opposite the other something in common reserves, which we now just as abstract pleasure and pain of it and can face each other. With the simplicity and purity, in which one considers the concept of pleasure, the

vastness of its usability is related. It is with him in this regard as a pure distillate. Everything takes along inside the distillate from the front, its limited availability, though it is edible and useful only in its uses. So you distill even so to say the concept of pleasure for aids its general usability from the outset purely from from everything, worein is received, hold him in general and pure, disavowed all Intresting, each side relationship of cause, consequences, type, height, strength, goodness. Distinctions are of the same particularizations is self find according will be considered received on its relations and co-determination, hereby come talk to specific types or instances of pleasure or pain. What pleasure and pain are in the pure version of yourself, can ever make them clear by any description, but only by internal Aufzeigung. Feel it, you know it, more can not be said for their last clarification, hanging on to their simple nature. In contrast, leaves much say the same and probably statements give the same after that but their ultimate clarity only ever get through inner demonstrating what we out feel just as pleasure and pain of all concrete occurrences of the same identical, of the causes, consequences, relationships. But that such a 'pointing in the same Transparent or slightly inwardly at previous ways to Mach ends is easily possible clear, are also all terms that can be subservient to them, a clear core. We call pleasure and pain, and hereby the pleasure and displeasure, they worein ago, the higher a nature or put them at a higher character as in, grab a place in ever higher spiritual regions, or higher depending on linkages, relationships, relationships they establish themselves, the lowest amount is linked to simple sensory impressions. Thus the desire and hereby pleased with a harmonious chord is higher nature than on a simple pure tone of a musical sentence higher than for a simple chords in the single cooperation mood of an entire piece of music more than a simple sentence. In ordinary life we confuse easily height with strength of desire, is inclined to desire to hold only in lower senses with the additional stipulation of a certain strength or vitality, and only specific kinds of pleasure, as they now present themselves in life just before your eyes have. But lust is higher in the above sense is not always the stronger or bigger, for it can someone greater desire for a simple sensual enjoyment than to have a proper knowledge, but it is also the joy of a true knowledge as well as the desire for sensual pleasure still so good to bring enjoyment, and the weakest sense of satisfaction or contentment with the concept of pleasure as the strongest one else wants a common term for the common element in all 'have to, but you need to. And when go out in ordinary life, the need of concrete versions of pleasure and pain, is not large, so you can still same even withdraw not quite, the less has he may withdraw science, according to which the concept of pleasure in psychology harmless is used in that full length and universality, which depends on its Abstrahierbarkeit in the purest version, and what with the lowest desire also subordinated to the highest kind, because such version to position the most general aspects is needed, to where the need of common life is not enough. Some have to escape the restrictive connotations, which easily carries, proposed for

the more general use other words, such as welfare, well-being, happiness, bliss, or preferred, the common use of the word lust. This changes nothing in the matter, and only these words of language use paste not as good as pleasure, and can be used without explicit explanation much less as little or basically term used to refer to the allgemeinst. This does not, because where's language sends, or to use it, depending on how often we will be, since they are in any case depending on the terms desire. That is preferably inclined, like to use in niedrem sense, makes, for example, in words like lstig, revelry, lust, lust, lust law. In this tendency, however, is one not to misconstrues Direction and not to be underestimated drawback for the use of the word lust in that the broadest sense, bordered with the lowest the pleasure of the highest character among themselves, as easy involuntarily imputes the closer and lower importance to him. Would provide only the language in its stock a sufficient substitute for dar. But now reluctant expression like but not exactly those furthest version, and you can even in ordinary life, probably by a desire for the things of God, a desire to search for truth, the do good to talk etc, but how should one speak of a feeling of wellbeing or happiness in it. This linguistic inconvenience In using any substitute for the expression of desire and in psychology already accepted use of the same in greatest width leaves me in the same aesthetics as a whole before others prefer expressions, but without thereby prevent its use everywhere. Respect, according to the preceding from all still so different kinds of pleasure as pain something identical is abstracted as pleasure or pain, can assume that some Identical is included as the last general of the main reasons of pleasure as pain in all the various causes of pleasure as pain; but it was that we look for it on a physical, psychological or psycho-physical side, it is not yet found, or at least found no clear expression, although it has several tries for it (as such harmony, inner essence promotion), the yet more Seeking the term the found. Herbart seeks to go deeper, but I must leave his school, which I do not belong, to satisfy it. From a psychophysical hypothesis that I myself set 1) and consider very possible, but I think not necessary here to speak, because it is not a question here of psychophysics. Of course, the ultimate cause of pleasure, which he was also to be sought only in us, and what of those external to arouse in us, it can only insofar as it is this inner reason the game.
1) In

the "Ideas for Creation Story"

But we knew also that common last inner reason, it would therefore not spared to investigate the specific internal and external causes of pleasure and pain, seek laws of their formation under special circumstances; like you from the heat while knows that they all over rapid vibrations of the physical particles based, but with this knowledge, no fire and sulfur sticks can heat steam engine no. Both pleasure and pain, are classed under the name together feelings. However, insofar as this name is usually applied to various states of the mind or soul, which are not to bring on clear ideas or concepts, regardless of whether pleasure or pain it comes into play, you can give pleasure and pain to the definite distinction aesthetic feelings.

2) Aesthetic, practical and theoretical categories. Beautiful, good, true, value, interest. Generally speaking, the person strives for happiness, whether that refers to lust or desire conditions of happiness; draws therefore generally speaking, the lust of the pain, the greater the smaller pleasure that minor discomfort of the greater pain before, and transmits this to the conditions of pleasure and pain, by considering more or less contemporary with the consequences. In the great interest which thereafter of pleasure and pain earnings of things and relations for him, but has he also finds reason to terms and expressions relating to form it. Now, there are some terms and therefore expressions which are related to the things and conditions in accordance with, as they give a present or immediate pleasure or displeasure yield, as pleasant to the fancy side, graceful, attractive, lovely, lovely, cute, pretty, beautiful etc, where as many correct to the displeasure of the page. Both of us summarize as aesthetic categories and distinguish them as positive and negative. Others there are which on the pleasure and pain earnings of things and conditions with regard to the context and consequences relate them where these funds can carry a pleasurable or unpleasurable character, regardless of the current yield is not thereby precluded THEREFORE the Lust Page beneficial, useful, useful, prosperous, wholesome, beneficial, valuable, good, etc, which do not correspond to less than positive turn after the many negative side displeasure. Both of us summarize as practical categories, provided they are primarily designed for the direction of our action irrelevant. From the outset, without already have the previous provisions on both major categories in mind, you might find something mysterious in their relationships. Certainly appear to vorgreiflicher view the positive aesthetic categories related to the positive and the negative practical, according to permutation of positive and negative. It is pleasant and nice place with helpful and want rather good, bad and harmful than on the same rope, and yet something pleasant can be very bad, something unpleasant to be very good. How does the rhyme? Very simply, if you go back to the above provisions. The current yield pleasure can indeed be surpassed by a greater reluctance income, current income displeasure of a larger desire to yield results. The joint relationship of both categories to pleasure and pain betrayed that right from the outset by the fact that both offer a match which opposed the positive and negative, pleasure and pain as the plays themselves, but it clears up completely by the above provisions. So we have every reason to trust these definitions tion from most general point of view. Common ground that the practical categories, rather than by reference to pleasure and pain, by reference to our subconscious drives and counter drives, or, what also occurs, but amounts to the same thing, by reference to one, on the scope of the ordinary use of language sprawling concept explain the love, Awakening as Envisaged and aiming to value, love, and love take grossing forming. After the basic psychological relationship between pleasure and pain on the one hand, conscious drives and counter drives the other hand, what under 4), a few words, but occur both

explanations objectively at each other in, and will always allow a translation into one another, after which untriftigerweise by one the other holding excluded. To favor our side in the declaration of the fundamental relationship of practical categories on pleasure and pain from the relationship on struts and buttresses, but was still a double reason. Once it was immediately clear to emphasize the relationship of these categories to the aesthetic categories, which could only be done by a common middle term, ie only by pleasure and pain, provided they have formed the core of aesthetic categories. Secondly, however, it seems to me that the general language and concept consciousness in fact summarizes the practical categories in a more direct relationship to pleasure and pain than to counter braces and struts. Because you find something not beneficial, well, if you seeks or should seek, but one seeks or should seek, because it advantageous good is it then, so that not tantamount to an identical set, you have advantageous well another term as determined pursuit think, and it's just a matter of a clear analysis to recognize the concept of pleasure in our sense of it. If I have therefore added to the above, that can explain the practical categories provide both about her relationship with struts and buttresses as to pleasure and pain, it is but only as long as you look at these categories for themselves, but not I can admit that a system of concepts, which we constructed using the first method of explanation to establish the general understanding of the same easily accessible and equally free of hidden or open circles explanations, as that which is based on the latter mode of explanation. Among the aesthetic categories of the term occurs beautiful, with the practical, the term well depending on the further or closer as either the most common, that is, the others below are comprehensive, or as the top, ie, in a preferred meaning before the other understood, on , anyway, than the main term. We have much to do here only with the first, but without being able to leave the relation of the second to completely aside. To grasp the concept of beauty as the main concept of aesthetics, corresponds to the general agreement, though some people will simply explained as the science of beauty even this doctrine. The beauty itself, but is variously according to its origin (from God, imagination, enthusiasm), its nature (sensuous appearance of the idea of perfection of sensuous appearance, unity in diversity, etc., etc.) or its performance explains (in pleasure, pleasure). Our hand, we are not only the principle, conceptual everywhere assumed explanation of linguistic usage, tied to the output of the last statement means, but also the consequence of our general provisions on the aesthetic categories, but in turn only come back in a more general way to such explanation. After this is already in the broadest sense, is the meanest same time, Everything that you will find the property directly, to awaken not only through reflection or through its effect liking, insbesondre, if this property is not on too small a degree, and if it it has relatively clean, however we at lower or only relatively moderate levels of expression as pleasant (often with sensual connotation), attractive, pretty prefer, and this or that shades the gradient ends through this or that other terms, such as graceful, cute, sublime, magnificent etc call. In that broad sense can something so beautiful good taste to look nice, there are beautiful souls as well as a beautiful body, beautiful

ideas as beautiful statues. The use of language in fact not only tolerates all this, but it's also good that he will not tolerate it, because we keep everything else for no common term we need yet. In the narrow sense of aesthetics and art appreciation but beautiful is something only what extent it is appropriate to allow higher than merely sensual pleasure but immediately draw from sensuous what either through considers internal relations of the sensible or by association of ideas to the sensual is possible, what closer is enough reason to take offer. Even in this narrower sense the term is beautiful so dear used by an object, the full and pure is his desire impression and shading are the same by special aesthetic categories covered, tend to look for one of its main tasks the textbooks of aesthetics in their discussion. If, however, some beautiful in the strict sense only seek to have applied to works of art (as creations of the mind) the expression, this is an arbitrary restriction, which does not share the common parlance formed, and while the beauty of a living person as a landscape defend themselves fitly allowed. That does not recognize differences between natural beautiful and fine art, but this one has just two words to distinguish both. It is certain only that the concept of beauty in the narrow sense is more often fulfilled by the beauty of art as a natural beauty that belongs andershin a closer look. However, one has to speak of a concept of beauty in a strict sense. With the previous regulations, we do not come out on the subjectivity of beauty, the One can then still find beautiful, what the other excludes from its territories. But should not all like what they like, there is not only laws according to which pleasure and displeasure actually judge of which will be to continue to talk, but also demand laws of pleasure and displeasure, it pertinent rules of good taste, and it dependent rules of the education of taste, which are not in conflict with the first law, but those have to use only in the right direction. The definition of beauty in a strict sense, the truly beautiful, the true beauty that is not only precipitated from higher considerations, but also has right to appeal, you incurring the value of pleasure that goes into the favor with, what the concept of the real beauty of a substantial participation by the concept of the good subject, of which the value depends in the later contemplative manner. Shortly you will be able to say in terms of beauty in the narrowest sense intersect the general concepts of the beautiful and the good, however, they usually reach out to each other. Always the concept of beauty is also in this closest version unlike the concept of the good at much, directly to and hereby arouse pleasure pleasure in itself, but not every pleasure, every pleasure is with regard to the consequences and connexion equivalent hereby equally well .This is discussed in the later sections detail about the taste. After this, nothing prevents to derive the true beauty, so what is worth to arouse pleasure in the highest authority of God, from which indeed last all will be derived and in which eventually has to complete everything and to culminate the same with valuable highest ideas in relationship to set, as an expression of the same in the earthly to explain supernatural, only we may, in our way from the bottom not start with such statements, and have us the word operate nicely for brevity by entering the beginning, in order to indicate an achievement that everyone is used outside of aesthetics and art theory, thereby finding rejected.

A simple feature that makes things beautiful in its broadest or narrowest sense, it is not at all, while many attempts, the nature or essence of the beauty of this or that aspects through a simple phrase aptly be described. The systems maintain the aesthetics of the top of such tests assume, beat, denying it, and so do not come to an end. The aesthetics of the bottom has it, after what has been said earlier about her character, from the outset only explanations to explain the use of language to be able to speak clearly about the laws can, according to which some like and to please, and make the claim in any definition of beauty to stay at all correct. Certain it is that in which width always the living voice and term use may grasp the concept of beauty, it does not take on the origin and essential nature, but power of beauty in fancy terms, and it is explanatory, the concept of beauty in this relationship with the compiling of wholesomeness. Also this has formed only in relation to a certain performance of the funds and is clear and properly only in relation to determine this, which is to make people healthy. If you wanted to make the notion of wholesomeness of funds in relation to some general property or source of the funds, and make the medicine depend on it, it would be just as untriftig than when you establish the concept of beauty accordingly and the aesthetics depend on it to make searches. After the adoption of the concept of wholesomeness relating to the to the executive of the funds performance is rather the question of what things are beneficial, just a matter of the laws of wholesomeness, which it is impossible to answer the same in terms, and so is after discovery of the concept of beauty in relation to the beauty of the executive power, the question of what things are good, just a matter of the laws of beauty or pleasure, which it is as impossible to answer the same in terms adequately; as just a general property, which makes things loss factor, as such, which makes it beneficial, so little is known, and only then, if it should be able to reason this power of beauty just as clear and simple as the power to designate itself, a fundamental explanation of beauty would have found it. Nevertheless, in disregard of the impossibility thereof, which has since been placed on the top of the aesthetics of beauty explanations preferably at the reference to origin or being held, and there are just so remained unsatisfactory for a successful development of aesthetics. Not that not all aestheticians have for him which is able to recognize it as beautiful, granted the power of beauty in higher desire, or even required, rather, that all in the way match taking place deviation herein, proves itself that these performance is essential to the concept of beauty, except that it has meant to them in the definition of beauty is not enough and they have sought to be replaced by one which is equal to the condition or the principle instead of the statement includes the same performance, the performance but has taken into account as a desire not only essential for the definition of casual or secondary. But harm all such statements, by not giving what may be to clarify the general language and concept use as a point of attack and initiation of factual investigation really give, but seem to give what by any general statement in a simple sentence is to give, hereby distract from proper ways of exploring it. Now there are of course also aestheticians, like Kant, Bouterweck, Fries and others, which of the performance thereof in the determination of beauty in desire or the

capacity to please the same, go out, but instead of there way to the study of the laws of pleasure and displeasure wanting to take stand in formal terms of the nature of pleasure in beauty, or experience in the ways of the origin or reason of the nature of pleasure right in the definition adequately, hit back. But let us turn from the main concepts of the aesthetic to the practical categories to perceive this to his difference-like relationships clearly. The concept of the good is explained as the beauty of the origin, nature or performance. And again, are we on our part, tied to the relationship to performance, no less, to connect us to the most common phrase to many other particulars, as for retaining the relationship to beauty as it is due to the general relationship of the aesthetic and practical categories. Hereafter called us well in the broadest sense, is the meanest same time, all insofar as it raised with respect to a considered or indeterminate left circle of the correlates and consequences voraussetzliche condition of more pleasure than pain, or a way to prevent more pain, to pay than to create what you give both of good weather, a good harvest, as can speak of a good man, a good organization of the state; - however well in the strict sense of ethics and religion, where the so-broad concept in mind, action, and endeavors rational beings, is the highest authority of the divine nature, based, according to which a person is to call only good insofar as he made a disposition is out and in the sense of rules, which voraussetzlich rather fortunate than unhappiness, rather hereby Lust is promoted as pain in the world, God is good only insofar as it is assumed that he had made events for the salvation of mankind, that is, their bliss of highest and last point of view, and even turn the evil in this sense. 2 )
2)

Of course, one gets with the way in which theological turn is attempted, the omnipotence and goodness of God, both at the same time, compatible with the existence of evil in the world, into insoluble antinomies.For my part, I believe that the evil in the world is neither the will nor by the approval of God, but by a metaphysical necessity of existence, but that in so doing there is so necessary and in connection a tendency in the world, the same to lift more and more, to mend, to reconcile, and that the general higher into infinity reaching divine is above all individual human conscious tendency in this direction, which is now just based the goodness of God, which perform further and more detailed justification, but this is not the place, since it not here to prove the cause of goodness, but to explain their concept of the beauty of the opposite. Is there a God and goodness of God, as it is in any case only be understood as above, it is to be understood at all.

Beneficial, useful, practical and other practical categories, the broadest terms of good order under the provision with respect to a more or less definite and limited class of contexts and consequences, and rather in relation to external things and circumstances, rather than those to be applied, which fall within the circle of good in the strict sense of the ethical or moral good, while short for special determinations of

the latter, the ethical categories, as such honest, legal, loyal, conscientious, charitable, generous, noble, etc Tugendbe all drawings are. If the moral and Divine good brought under a common category with so many other good, hereby all this only common subordinate appears, this conceptual subordination of its factual Hoebe behaves nothing, since a high level objectively becoming the highest remains, despite that they conceptually occurs with lower levels under a common term; yes without which they could not at the rank of highest use. Will you explain the ethically good as what is the will of God according to the spirit and will of the people, so this explanation contradicts the above objectively, but can only be in the religion of place. Then you will always have to ask you: what is the meaning of the divine will? and even if this question through the 10 commandments and the words of the Bible: "Love God above all and your neighbor as yourself", has answered from the top down substantially, according to a linking point of these commandments and ask clear interpretation last word can , to which the principle of the good must be determined yet andersher. Quality of a thing not due to essential beauty of them, but can lead to contributing, as to when the desire yield of the correlates and consequences, and then the quality of the case is based, transmits through familiar become association of ideas on the immediate impression of the thing, a source of complacency, the later (under IX) is discussed in detail. Conversely, it may not require the beauty of goodness, but can beauty when it is present, help to establish quality, provided that the immediate pleasure yield but belongs to the whole pleasure Endure to which the concept of the good will, only this is not solely determined and does not break through against a vast displeasure yield the consequences. This has a beautiful form of the good as a stimulus to strive for the same. But also the ugliest can be well found, like a badtasting medicine and bad looking under the assumption that the same will yield immediate aversion outweighed by eliminating major pain episodes. Respect, both on the previous Beautifully can be used as well in very different length, the rule of use will be the one that we hold in accordance with wider or narrower than the circle of observation expands or narrows, so long as it in for us broadest sense of touch, as do non-limiting provisions of itself be expressly claimed or asserted. But that the broadest definitions of fine and good, as they have been placed above, are really nothing else than the explication of the most comprehensive and vivid language term use, may be explained by the following observations and be reaffirmed. The common man used by all aesthetic categories at all only the concept beautifully by no desire feels in his underdeveloped system of concepts to engage in finer distinctions of direct gradient ends, so it represents beautiful in its broadest replaced all other aesthetic categories. In fact, you never hear him say that is pleasant, pleasing, graceful, petite, cute, he says everywhere only: that's nice. But the more educated, those finer distinctions are familiar, like the expression

operate in so many cases where it is expressly designated to enforce such distinctions, beautiful in greatest width, say therefore harmless: it tastes nice, smells nice, speak of a beautiful tone, beautiful weather, a beautiful idea, a beautiful proof, what is not, is preserved everything to that of the aesthetics of higher style, narrower concept version of the beauty fits, after which neither the merely sensual, pleasing, nor quite the inner spiritual territory Falling beautiful is subsumed under the term. But as a whole according to Nicely, it behaves in these relationships with good. The expressions useful, beneficial, useful, valuable, healing can not be heard by the common man, he has virtually all aesthetic expression of the beautiful, for all practical categories only the same expression, is the most general meaning, and about blessings for a great abundance of good both at the same time if the meanest. The educated speech and word usage is just as the distinction between the practical and aesthetic categories, but can also often as little of the broadest version of the concept of good abstract as the term beautiful, because of a general description of the pleasure-giver under Mitrcksicht on contexts and consequences often just as necessary as the distinction between the sub-concepts and nuances there is no interest. The same as the ratio of the main categories Beautiful and Good to the subordinate categories can be said to each other by the ratio of the two main categories. They are differentiated in daily life quite as mentioned before. As they say in daily traffic to others: "It's nice of you to come," if you want the immediate pleasure that brings the coming of the Gentiles give an expression, "it is good that you have come," if you thinking about consequences of his coming in the sense of pleasure or for the prevention of pain. - There is talk of weather or good weather, according to the same immediate positive impression or want the pleasing effects that it promises to call. - Copies of the One might say it is a lovely, of Andre, it's a good painting. You probably want to express the same in substance, but the A summarizes the painting here, as it really brings pleasure by his presence, the Andre sums it up as such properties possessing that it can bring pleasure under the required conditions, without his prints something to indicate the current pleasurable effect of the painting. - It's called a house is beautifully built, when it was built in such proportions, embellished so desire it granted directly by the sight of him. But such a house could be built so that it would prefer sooner or later collapsed over our heads In using or inconvenience to himself, which would be greater than the pleasure that now gives us his vision. Then we would be able to read it but not well built; also nice but we would not find it if its poor construction in the immediate impression made such claims to transmit the pain of the consequences of association as that. - I heard someone say, "if one curls the vine, the grapes ripen earlier and bigger." "This is indeed quite nice," said one of others, "but I think it not to be good,., He will suffer from this unnatural treatment and you lose the whole more like a win" With the prints beautiful he was referring to the immediate pleasure, expressing good on the whole profit with the inclusion of the consequences. - If one thing that has made us a long time difficulties, finally came into being in the right way, or an evil that has plagued us a long time, is finally lifted, it will be in spite of the immediate pleasure, what you

have thereto, but not say, "now is it beautiful," but "now it is good"; if we still lively enters the context of success with the expiration of the upscale and eliminated for the following difficulties or evils in mind than the present gratifying success itself Since the quality of the immediate pleasure effects, where they exist, always come into consideration, they can of course only be considered where they are present alone, or where no specific cause is, except them rather on consequences in terms of pleasure or pain to think. So no need in such cases very well synonymous, therefore just says so often that tastes good, smells good, as that tastes good, smells good, which takes off well, as that takes off beautifully. On the other hand, we can according to the mentioned above made observation a device or action that is called good with respect to their expected legal consequences, are also nice, so far they are so presents itself in connection with its consequences, that the idea of making an immediate pleasure impression. One only has to maintain conceptual clarity, always envisage what aspects of it are one and the same pretty soon, soon well known, and is given the distinction between the two terms are then always confirmed. With the concept of quality is intimately connected to the concept of value. Short one can understand the scale of the value of quality. As such, it is also a measure of the yield pleasure, we at things, actions, create conditions 3) , with Bcksicht that averted applies with equal or superior displeasure generated content. In other words, we measure things and relations at a level that they contribute according to human happiness or unhappiness prevent, eradicate. exchange values or prices, the difficulty of raising comes as a factor in Mitrechnung. That we can not estimate mathematically the desire yield 4) , nothing changes in the concept of value, we can see the value of those things that can not be estimated mathematically, both estimate defects, you want to keep it going, not only parallel, but boil down to the same . But we can sometimes sensible to consider some for a whole resulting from the experiences and teachings feelings, which in general is much more determining and often much safer than those that estimate an effect more or less of the value within certain limits of security by, and must let us meet them, so we are not able to continue to drive to safety. Daily, hourly, but man, all young if you met him to look at his proportionate contribution to increase, maintain or decrease of human happiness, just pleasure and pain on his return. Without his knowing it, pleasure and pain results for a whole of successes expected in his feelings out, so that he comes to value provisions of the things that he himself does not know how, and often without the mind seems to have something done to it; although not the same everywhere it is still to be idle. Meanwhile, make funds available to the individual for obtaining the correct value rules for bids, not far, and it is based mainly on assays that have been found through the experiences and reflections of a population in history, which he but even something may contribute to or alter them to make solid.
4) A mathematical 3) When

actually (only undisputed psychophysical possible) measure

of the intensity of pleasure and pain are more likely to be found only in connection with a general knowledge of the root cause of pleasure and pain. Until then, it may be just to estimate more or less.

Whether one wants to relate the concept of value to the conditions of pleasure or the desire itself is objectively indifferent, but if you appreciate the conditions only in terms of its yield of pleasure. The merits or demerits of a desire, but what they are to be sought deserved or not, is to be calculated according to the general principle of kindness not only to their own size, but also on the size of pleasure or pain, as their source, they can be considered . We say in this respect that a source of pleasure is pleasure or pain, as their existence depends on conditions, or related to those which lead to pleasure or pain, such as the desire to do good is related to drives that are suitable who desire to multiply in the world, the lust of cruelty with drives that are appropriate to reduce it, the desire for a moderate enjoyment of the people with such a condition, which makes it able to continue to enjoy and pleasure create, the desire for an inordinate enjoyment with such a health disorder that is brought about by the greater pain. As poor, and therefore of negative values is hereafter ever a desire to explain, so far as the requirement is that they on about the conditions in which it is liable, produced by the connexion in which it occurs, greater reluctance to follow or greater pleasure Conclusion prevents, as it is itself the consequences but if really value in a generic sense is to be understood to be related not only to their own state of pleasure of the people concerned, but also the entire state of pleasure to mankind. Thereafter, pain may even get a higher value than pleasure when they outdo each other with bigger consequences like or able to prevent greater pain episodes. And may, as conceded thereof not be an accurate estimate possible, but the estimate of the value is to provide in principle on this point because every other estimate is subject to at least the same accuracy impossible greater uncertainty. The lust of evil and the lust for evil have hereafter at all the same size, not the same value as that of the good, and as the desire for good, unless those fancy, this is related to the nature of evil and the good, even with overwhelming pain episodes with overwhelming lust consequences. The happy state of evil keeps him in his evil inclinations and strengthens his evil fortune, and maintains and strengthens a source of general displeasure. Against this wins the punishment of evil, divine and human, although directly displeasure bereitend, value not to the empty principle of Retaliation or dogmatic principle of atonement, a question of why still backward remains, but if it improves the evil that deters discourages short evil as the source of pain control,., and the more it unites of these conditions, the greater value it will have 5)
5) I

mean, only if the value of the penalty will learn from the above considerations hold, you will not get beyond the now prevailing biases in the perception of its principle.

Higher desire (lust of higher character) has greater value only insofar as lower than it is at once the source of more pleasure. The child's delight in his innocent games, the lust of the industrious laborer at his simple meal but, although low, is still more valuable than the desire for a bad or immoral intrigue novels. Generally follows the length of the value concept of different length, in which makes the concept of the good catch, and vice versa, according to which the value is often only for a limited circle of contexts and consequences, as we have it right in front of eyes, including the immediate pleasure yield is measured. But they put new pleasure and pain not only in lower common sense, one estimates the pleasure and pain conditions not only by their expected legal Endure in individual selfish momentary pleasure and pain, but according to the presupposed yield on the whole for the whole, we shall thus the have true and full value of these Conditions highest common factors. An absolute estimate of the true value of things and relations is certainly an ideal, but it can be said that virtue is truly valuable as a vice, and in general can be relative judgments in this regard is simply easier to make than absolute. The agreeable and the beautiful narrower sense we can attach greater value under certain circumstances, as that which is useful only for its consequences, both because the immediate pleasurable effect of the pleasant and beautiful all the pleasurable effect of the useful, the terms of its concept only limited scope is concerned, can offer, secondly, because the concept of beauty in the narrowest sense, the real beauty, a Mitrcksicht includes the desire to follow as a side with determination. The real beauty, by suggestions that granted it in good sense, use more than what is merely useful or say. However the people seems good in the narrower and higher sense, the moral and Divine good of all, to be what the highest awards and has, because in the most common and most rigid conditions of maintaining a prosperous state of humanity lie at all. Without rational thought that people feel in the spirit and action of moral people to ensure in this respect, as far as it depends on human will and action, out, and so immoral in the opposite. We see, for example, someone who is funny, witty, turning in behavior, clever, beautiful, who would not like to be that person who does not envy him for all the pleasure he scatters effortlessly around and once is enough. But now it says he is a bad person, dissolute, hard against his own people, dishonest, and he is lost in our opinion and respect, even as he entertains us, hosted, creeps us an eerie feeling. We feel comfortable that all the pleasure that enters his wit, his spirit, his dexterous conduct him immediately, and others, do not weigh as much as the pain, which will bring its profligacy through its consequences himself than in the sad hours He makes his wife and his household, as the evil that he brings through his dishonesty about Andre. All those fancy appears to us only as the white foam over a dark lake of pain. We do not say that of course in detail: but our educated through countless experiences and teachings feeling has the power, you could say all what the mind singly, to unite in a resultant.

Suppose now that over the dry, set, yes pedantic man of unimposing Affairs, who knows how to entertain nobody good, but does his duty, his office in order managed by forces the community and useful institutions promotes, with his wife in Peace lives and educates his children well, although it does not contribute through spiritual means that are not available at his command, but by material as much as he can to pleasure the other, we would certainly not like to be so dry and pedantic, as he; but at the Wertsvergleichung it with what precedes we will not for a moment be present to put him on the preceding, we will be using it, how we express ourselves, pay higher than that; eighth but is nothing when the value estimate; - by well- feel, how much more pleasure but as a whole flows from his conduct, than from the former things. However, we estimate characteristics of a human being not only if they can be brought under the concept of morality, but rather Anything starting brings the world of a man plenty of pleasure higher nature, is held up by the world and only knows the higher still the right feeling to put on that high. What Goethe is appreciated but regardless he was morally no more than so many minor spirits. How much is a singer in the values if she is beautiful and sings beautifully, even if one of them knows nothing of morality. And even when you know that it is something reckless, we forgive you many things about her beauty and her beautiful singing's sake, and would prefer it be this careless, but not bad, being, as a so-called moral silly goose. Why? because that is a living wellspring of desire, and a drought this pool. The scale of pleasure upheld by all. But if the same singer who enraptures us with her songs and her grace, yet modest and classy appears in its essence, as unspeakably higher we make it then but at the same time as the reckless, which throws away, and when the silly goose. We feel that the whole world here in the infinity of desire to win more than one individual debauchery, and the good will of the other stupid. Conscience, which assures the people of his own goodness, gives him a sense of security about everything beyond what may initially result from his actions, and is the most precious feeling at the same time by his immediate texture like. According to its consequences In neither feelings of their own beauty, nor the beauty of something Anderm is something similar. What we now have it, we have, the rest remains to be seen, except that a character of goodness at the same time with ausprge. If some against the eudaemonistic feature that passes through all the previous system of concepts and necessary related to an ethical system of corresponding character, bucking, so they may consider whether they are not with their other conceptual system only less clear-way objectively to the same ethical conclusions come, and her aversion to the introduction of the pleasure concept in the practical and hereby ethical categories not only to lower at a and at all limited version of this term depends on which one is always inclined in spite of conflicting requirement to transfer from the common life in science , after which he certainly is ethically impermissible inferences room. Anyway, the previous system of concepts to those not in the aesthetics, and since it will folgends act much about this, not about ethics, so I can take use of it to justify in detail the same system for ethics, but it will be some discussion in this yet at the end of this section apply direction (under 4). To leave entirely up side was in any case the discussion of practical categories therefore here

not because they, if not implement the highest point for the aesthetic centering, aligned but in earlier briefly touched and future (under IX) closer executed way into aesthetic categories and thus in the aesthetics can be intrusive, the concept of good in the narrowest version of beauty enters directly determining factors. Lotze, whose views divide the eudaemonistic feature with our 6) , are yet to thereby impacting terms like, Nice, Good, value, a very different position to each other, as happened here, including making the beautiful only from moral goodness depends instead to consider both in a common dependence on the fancy terms, as we did, by declaring for beautiful that of 7) , in whose appearance the rhythm (reflecting the structure of the flow) and the ratio of forms in which the moral good in us and beyond us expresses in the divine world-order and leadership and moved. In the desire produce of external things and circumstances, so that their pleasing impression is conditioned, it looks so to say only the stamp of "own excellence" of the same, which rests in the fact that they have of that rhythm, those forms of relations something in itself, in us reflect, without being therefore the actual content of the moral good need to carry with them. 8) only this, even the moral good but he senses a fundamental, all others only a derived, at value. The notion that good, as the quintessential Precious, to which we find ourselves hereby finally rejected, he builds on the concept of pleasure in the highest potency (the bliss) by the following statement (Mikrok. III, 608.) 9) : is "good in itself enjoyed the bliss, the goods we call it, are a means to that good, but not even that good before they are transformed into their enjoyment; well but is only the living love that seeks the salvation of the other. " To the execution thereof, it can not enter into here.
6) 7)

Key sayings in this regard sua in Mikrokosm. II 304 Abh customary. d lim. d Sch. 15 or shops. 97 8) business. 100th 232 234th 265th 286th 293 487 9) Is there, as well presuppose another specific statement here on in Lotze, yet such has escaped my searching.

This is now certainly a very different conceptual framework than ours, without that there is therefore a factual contradiction between the two. But I do think that the according to the common manner of use of the terms is our more than that of Lotze, which is even more in terms of ethics and aesthetics from above than from below, while Lotze elsewhere moves with success in the last direction. There is a term of common use for the sequence, the hinbiegt from one side to the more aesthetic, more of the other to the practical side. Much of what we would call neither pretty nor beautiful, we can still find interesting. Indisputably one will be inclined to expect this category to the positive rather than negative, but may be interested in something ugly to ourselves, how is that right? - The answer is that we find something interesting, to say nothing else than that it us for this or that poem points like us to deal with it without the need therefore to please us as pretty or

beautiful in the whole. Rather, it may be only for circumstances pleasing this or that property, to the ties, interest, and even the charm of novelty can do one thing interesting, so long as it is new to us, so the ugly Pastrana. But the benefit or harm, the one thing makes for some aspects or promises can draw our attention to yourself, and in speeches as that someone has an interest in eye drops even the concept of interest with the benefit or advantage themselves together. With the terms of the beauty and goodness of the word of truth combined to form a kind of trinity everywhere. We only go here as briefly as possible to answer his position to those terms. Absolutely, absolutely, objectively true, is an idea which is contradiction with any other real or possibly to adopt even non-contradictory notion, or the total circles contradiction belongs with the other existing ideas; she certainly is aware of the fulfillment of the conditions of truth. Pursuant but as this term of the absolutely truth and conscience suffers limitations or is taken only conditionally, as only applied to certain performance areas or percipient beings, or the conditions of truth or certainty only be conceived more or less satisfied incomplete, enter the absolute Categories the truth and certainty of more or less relatively valid, which can be summarized as the theoretical with the absolute, which are: intrinsically true, externally true subjectively certain, correct, accurate, concise, persuasive, reliable, undoubtedly, credible, likely, etc. of positive character, which does not correspond to many less of a negative character. First, now you missed these provisions, relationship of truth to the beautiful and the good, but if such is not directly on the point comes to light, it advocates on as fundamental in factual, and our being able the beautiful and good in terms of us to define unknown last general reason of pleasure, would also find herein the conceptual relationship of truth. In fact, not just an aboriginal feeling of pleasure is directly linked to the knowledge of the truth and finding truths, which acts as a driving force in science and appears in art as a fruit of the fulfillment of an important requirement, but it can also only true knowledge to good practical consequences drove, so it can be concluded that even reversed by a very general principle, the truth of a knowledge of their goodness, but what to enter into any detail here. 10)
10)

Comp. about the "three motives and Gr. of Eq." Page 120

The good thing considering in one after all as the serious man and of the whole budget folder, present and future, near and far, and to maintain the advantage for all relationships examined, the beauty of the blooming wife, who worried the present, with consideration on the will of man, the pleasant child, what delights in sensual enjoyment and games of the individual; the useful servant, which the rule does hand performance with only bread receives according as he deserves such. The truth finally comes as a preacher and teacher of the members of the family added, as a preacher in the faith, as a teacher in knowledge, and it borrows the good eye, the hand leads the useful and the beautiful holds a mirror up. 3) Aesthetic, aesthetic.

It will still apply, so far the only use of the term casually drawn into the aesthetic and aesthetics as the science of aesthetics closer to explain and hereby also the area in which the considerations of this document is keep certain limit. According to the etymology and original declaration by Baumgarten (of which aesthetics as a science dates), and Kant would go Aesthetic to the world of the senses or forms of sensory perception in general without regard to agreeableness and Miflligkeit, and thereafter aesthetics a theory of sense perception ( or their forms) mean anyway 11) , for an explanation, which still later, some are followed without her but each execution of the aesthetic is followed. In fact, how far would have to reach for certain page and how closely together to pull the other side of the aesthetics, it should meet this definition and not exceed. All the conditions of sensuous perception with little of the same detachable relationship to physiological and physical conditions would belong to them, from Goethe's Faust and the Sistine Madonna, but only what the mind is stirred, the aesthetic consideration be subjected to.So far after one and so close to the other side you have never taken aesthetics and they were not even taken by Baumgarten himself, but from him the fact that he gets the beautiful as that which is perfect sensory perception to the main objects of contemplation and incurs aspects that go beyond the physical conditions purely sensory perception, has been transferred to the now hergebrachte version of aesthetics. What one can say that from the outset today as in the manner of use of the term aesthetics, as in execution, if not anywhere in the definition of teaching, he has made reference to pleasure and displeasure essential law.
11) Thus,

even in Kant in his transcendental aesthetics, however, he later, in his Critique of Judgment, which contains the actual foundation of its aesthetics, aesthetics and aesthetics rather used in the now usual sense, which has contributed well itself mainly to the current manner of use of these terms .

So you understand now under aesthetically even know what to conditions immediate pleasure and displeasure refers to that which enters through the senses in us without but merely to have the purely sensual side of it in mind as rather relations of the sensible, as in the Music and association concepts that merge directly with the supernatural, as the words in poetry and the forms in the visual arts, finally ratios of these ideas, in so far as the pleasure or displeasure linked to everything, with in the realm of aesthetics are drawn. Yes to a narrower many other particulars of the aesthetic one even includes that which is able to arouse only his sensual or little beyond reaching effect of pleasure or displeasure, the concept of the aesthetic to display only the directly from the higher point of view, for higher relations pleasing and Mifallende including to conceive. So you look at, for example, the pleasing impression that a pure rich tone, deep saturated color, the fragrance of a flower, the flavor of a food is able to awaken without any show linkage, as nothing Aesthetic, probably even makes the impression of a simple chord, as the kaleidoscopic figure as still too low, are not considered as such, and takes consideration of all the just under

the designation as pleasant, but for the express exclusion from the terms of the aesthetic fact as to classification including in the aesthetics on. Now you have to admit that this restriction of the aesthetic is not only in common use in life but also in the whole predominant scientific many other particulars, and last page is even often were explicitly this restriction. But not any scientific treatment of aesthetics has turned it, and in more general version of which is altogether impossible, are here to stay, out of the two reasons that there are enough factors, which engage together on lower and higher favor, and that both themselves (after Section V) can connect to a consistently greater and higher products. So let us also add the following to the narrower than in accordance with many other particulars as the circle of view is narrowed accordingly, without principle, to limit ourselves, which incidentally has neither the sense to reform the use of ordinary life, still others to the narrow use for a want to fight from the outset more restrictive circle of observation. Of course, aesthetics is even today not all explicitly stated in terms of pleasure and displeasure, pleasure and pain, namely the extent they are declared as a lesson of beauty, but makes the concept of beauty of other terms, such as the idea of perfection and so dependent which above discussed shortly. Since they but in fact in any design, it has been found wesentlichst or, preferably, with the objects to the sides, making them suitable to arouse pleasure or displeasure, busy, and those terms itself, which in the main explanations play a role, find their principal use in this direction, it seems best, in fact, the point of which equal the same record as the main aspect of the aesthetic in the definition to hereby designate the direction of its task a priori clear. And if that is not the prevailing sense of aesthetics from above, so I'm looking for earlier made observation in the fact that they do not meet with their initial statements to the nail from the outset on the head, the reason that he more or less oblique direction increases, which means you just can not thus learns what is in the things actually arrives to the pleasure and displeasure, but just how far something is subordinated to put at the top of idealistic point of view, what the concept of pleasure and displeasure is only an incidental . From some points of view, it would, however, be desirable to use the term aesthetic in a different turn when he accepted the relationship to pleasure and displeasure, if only not this relationship in the dominant language and concept of many other particulars objects already too tight and to compensate another term for bids circumstances. Every object with which we operate has even accepted by this traffic reaches beyond a sensual impression his importance for us, to make that impression with both claims as in our 9 Section will be discussed in detail. Thus we see in a crown not merely a yellow stripe with some elevations, but at the same time a thing, which is intended to cover the head of a king. Common ground now, one may wish to refer to such impressions that consist of a sensual and associates it meaning with a specific word, but there is none for it if you do not want to take aesthetically it; making but the relationship to agreeableness and Miflligkeit would remove as much, for it can be found under such impressions indifferent enough, the pleasing and simply form a peculiar department displeased them, and based on a previous

general term aesthetics but also as could then vorzugsweisem of interest in a particular department to be treated. Much this is the view of the aesthetic and the aesthetic that C. Hermann in his plan d general aesthetics 1857 (Fri butcher) and his aesthetic theory of color 1876 (M. Shepherd) represents, and I do not know what principle against Imposition of such a theory would argue, would from which our aesthetic in some respects constitute only that particular department, so far as one does not intends to build purely direct impressions without associated meaning. Hermann, however, is based only on the result of the association principle, without going into the development of the principle itself, and followed the course of the whole, more than from the top down, so that our meeting is only a partial with him. Also has a doctrine which represents the point of view of how our pleasure and displeasure at the top of associated meanings and take into consideration only after their participation in the pleasure and displeasure, required to take a slightly different turn, as such, that the aspect of participation of sensory impressions through a meaning to shows up and agreeableness and Miflligkeit pulls in an ancillary manner considered. Common ground could be under detention the relationship to pleasure and pain have a wide generalization of the notion think aesthetically, namely, that reckless whether the impressions of the outside world come and happen immediately, under aesthetically ever minds what to conditions of pleasure and pain refers to aesthetics at all a doctrine which, inner and outer, tracks the overall pleasure and pain conditions in the world according to their conceptual and legal relationships, linkages, modes of origin and engaging ways. And in any event, take a term in such a fashion and the idea of such a comprehensive theory of pleasure and pain lets up, it may also arise a scientific need to use those expressions in this broadest sense, should not let other see it. However, the term is aesthetically never used in such a while, been already proposed the term hedonic for the general teaching but to my knowledge. 12)To such a general theory but it will be here at any rate not to do, and so we will of expression aesthetically in such a largest width only when the traffic exceptionally leads to the conceptual context and makes it understandable by itself.
12)

are the main features of such a theory, without the use of the word hedonism for it, you may Hartsens "broad science of happiness. room. Pepper. 1869" and its "beginning of wisdom. Lpz. Thomas 1874", pamphlet, with their Bottom of pure swing and eudaemonistic trend I find myself in full agreement.

In some ways, divide the human heart, there are two that fall through each other, just as classification according to different sides and levels. After first there is a page of feeling and imagination with what it grows into memories, terminology, etc., one side of the drive and determination and a side of feeling of pleasure and displeasure, rooting into it which or as participation in the first page in depth in mediate and final drives is putting held between the two. After second Eintei-ment as a low sensual and higher spiritual level that can be further divided or can convey through different

intermediate stages. The aesthetics of our text now refers to the side of pleasure and pain, if any immediately awakened to depend on foreign ideas and feelings, but upheld the lower and higher field by both insofar as the higher salaries of these sensations and ideas for her pleasure - and displeasure with content falling within their area. Herbart takes ethics into aesthetics, and if you want to raise the latter to a general hedonic what did not happen by Herbart, the former will include aspects of eudmonistischem with less. Apart from this but it is my opinion always be preferable to separate aesthetics and ethics to the above stated aspects of the beautiful and the good, as beat up from the envisaged by Herbart points, which does not prevent, respond to this as of other relationship between them aware . It is true that the moral good, purely taken from secondary ideas, brought an immediate pleasure, and the same thing of beauty. But apart from that the moral good is a purely inward thing, which is not the beauty in the narrow sense, which we call good is not good in that it legally considered an immediate pleasure aroused, this is a minor matter, is to tell him so externally; but as it is, no matter how it appears to a viewer in the specified (under 2) sense is the source of flourishing consequences. From this and no doubt from the standpoint of immediate good will, moral laws and requirements under consideration of the experiential nature of men and things are to be derived. Here you will certainly find others also Herbart pattern ethical terms, but see no reason to include developments in the context of the same, and enter into their discussion of Herbart basic aspects. Is there a the whole world controlling and linking conscious mind, just a god over the world, of which our and all finite conscious mind it flowed, or still is a child of nature, and wants to venture on the basis of generalization and increase the fundamental provisions of our mind to think of the divine spirit - another indication of the idea of reason and the conclusion it but we have not - one would have to think of one side of the pleasure and pain in him and in what he likes and dislikes in his world. Thereof, the terms already, because you, but do not know how to do without an anthropomorphism that one rejects basically. But you took the gloves with that generalization and improvement due to the fact that the finite mind of the divine that well but can not be equal to the basic essence as a figment in the enclosure and height, and they pursued after upgrade from bottom side of the pleasure and pain of their top season in the divine spirit backwards in relation to the equally erklimmten highest ideas of good and truth, one would obtain an aesthetics from above, in which were to occur in the beauty of the relationship with the Divine, which is attributed to him so much, really clearly followed . But not even the point of such a justification, the aesthetics of the top granted or is made clear, all speech is an explanation of the beautiful in God a sweet-sounding phrase. 4) Eudmonistisches principle. Our respect for the aesthetic reduction of ethical categories and success-oriented aesthetics to ethics is a eudaemonistic (happiness, pleasure-setting as a goal) happened approaches, and I do not see how it could happen at the same time clear

and proper. The prejudice against the subordination of ethics under a eudaemonistic point is at all but so common and by many a so strong that it could easily stand in the way of Eingnglichkeit of all the above conceptual framework, which is why I here annex, by clarifying some, clearly not all decisions taken, points something else at the same time seeking to explain and support this viewpoint as he is taken on our part to contribute. To large parts of course that prejudice only that the one, rightly rejected, subjective (selfish) hedonism and objective (universal) to which it is alone here, not quite eliminated, partly depends also the fact that one of the to low and narrow bordered eudaemonistic hub of the whole system, the concept of pleasure, but it also carry psychological ambiguity to this.Against this the following first. Our idea of a be made (respektiv to be transmitting) do may involve the nature of pleasure or pain, and every conscious drive and non-drive any act, is hereby determined and focused, so resolute the more conscious he is, so are conscious drives and drives against any act downright pleasure and pain to call. Can the conscience get us to do something against our desire, that is, nevertheless, that the idea of to be made doing is afflicted from any page with pain, yet it is only if the notion of an omission, the doing of conscience side with more pain is fraught; similar conflicts and there are countless else before. In many cases now the pleasure and pain, which determines the conscious drives and counter drives to our actions depends on the idea of pleasure and pain from which will emerge from this activity for us, it is the pleasure and pain that only a is object of our conception to distinguish from the pleasure and pain, which of them is a feeling moment itself well, not always clear what is happening. Can we us a pleasure that we are not able to achieve, with the feeling of pain, and pain, which we hope to escape, with the present of pleasure.Fundamentals, ie, necessary and directly, but it is always a feeling moment of pleasure and pain, what determines the drive and nondrive to action, and this feeling the moment of conception can indeed be determined by the featured pleasure or displeasure success of the action, but also andersher and even in opposition, however influenced or determined to be alone. So it can make us instinctively innate as oppose to do something or to have without us thinking of pleasure or pain episodes here; hardly plays a, collected from experienced pleasure and pain psychological after-effects without recollection of these experiences and Wiedervorspiegelung same an important role in determining our current drives, and powerful, perhaps out of instinctive reason, engages the example: we love all other things being equal, to do what we see others do. In previous determination moments of our drives are both the same means of education. How much in some drives, especially as those of conscience, may be innate or instilled, may be disputed; education everywhere has certainly contributed to it. Against the psychological soundness of the previous provisions are not likely to be objected. Now the expressed here eudaemonistic principle rests in nothing else than that it is the same thing of everyone conscious drives need their direction determined as a target of these drives is on the whole in mind in relationship, and the education

of the drives Aller greatest possible fulfillment this objective commands to be sent. This assertion of solidarity, in which the whole of the shows, the welfare of the individual more so the more fully satisfies the principle, and the more it is pursued in its consequences. So little thereafter the preference of the own welfare is the other within the meaning of the principle of benefit, so little the sacrifice of one's own welfare for that of others. Because one's own well-being itself forms part of the general welfare, and so allow anyone, not to shorten the good of the whole, in accordance with one's own welfare seek no more disadvantage than others as he himself grows advantage. It can but everyone after a certain relationship even better care of themselves, can provide for themselves than others, better care for other vice versa for others than they can care for themselves. Now, the law with regard to historical national and even more specific conditions, weigh the ethics of going beyond general considerations, rights and obligations in this regard and make laws which, by dominating the judgment of the individual and bind the action of everybody in obtain the direction of the best in context. Even in the common observance of a law but is a good thing, because better if all members of a given circles for an existing law, it would not be the best, only that it was not the worst, follow along and steadily, as if each is without the law according to his own view of the best. Now, it is undeniable that the drives of the people from the outset rather on their own and the next well as the whole and the distant recovery of their own welfare go out of the whole, and are therefore not intended for the purposes of the previous principle. But in order to educate in this sense, are the same, only to be directed precisely for the purposes of the principle means at their disposal, who have been everywhere and always been in use, which of Education's speech, example, praise, blame, reward, punishment , a reference to anger and pleasure of God, about the threat and promise of this life beyond, what has raised the understanding of the nature, the requirements and implications of the principle to kick. The ultimate goal of this education but is not that of an impractical doctrinal rigor required to be, but not in the nature of man is on the papers openable fulfilled that man the respect of one's own advantage entirely banished from his motives, but that he does not distinguish the consideration for his own good of the consideration for the welfare of the whole, neither the immediate nor feeling with regard to the consequences. But for one of the first page that he may find in the feelings of love towards his neighbor with his own happiness is to work for the happiness of others, and also feel the higher sense of satisfaction of conscience, a gratification in feelings, also to satisfy God with it, to one that exceeds any other in strength and height, can increase design. From second page that includes the experiential view that even here the people the good and bad consequences of his actions more certain to strike back, the longer they run, followed by the belief that the principle of retaliation over ranges from this world to the Hereafter and there may finish. There will of course also applies to awaken faith in God and the afterlife in the right sense and strong, to the principles of right faith itself but is to be expected that he satisfy most people at the same time and at the best lead.

In fact, it is an empty delusion that one without concurrence of religious motives, it was the people, it was people from higher education, be it in terms of the principle itself, can be quite full and educate, there remains an unmet without the rest , to the highest and last relations, we can not meet with all the preaching of humanity or what ever it would have made tremendous contributions. Thus, the principle gain practical application, it is only in connection may be with the fact that, all other outstanding, finally alone resounding, religious motives to regain the world-shaking force in the weakening of the abuse of reason with dogmas that contradict it has contested. What ever seems to apply in these relationships me in principle, I have some more detail in the pamphlet "On the highest good" (about which discussions with Ulrici in Fichte's Zeitschrift philos., 1848. P. 163) and "The Three motives and reasons of faith "discussed.

III. Aesthetic laws or Prinzipe in general .

In the interest of uniform character throughout the aesthetics would be desirable that all the laws of pleasure and displeasure, of which to speak it, could be represented as special cases of a general law. Like it but such a type in itself, but it is as yet just as for us in the dark, as a most general and final reason of all pleasure and displeasure, with which it is naturally associated. Although it has probably the most well-known principle of uniform combination of the manifold, which nothing prevents to formulate a law, at the head of the whole aesthetics, and certainly it is one of the most important Prinzipe, we want to talk about it later, but I knew it alone with him not get along. How might, for example, explain to him that the pleasure of what we have on the resolution of a dissonance by a consonant, does not remain the same if we reverse the sequence of chords, be weary that we get used to the most beautiful and nasty can it all too much or too little is what we dislike, etc. Zimmermann, one of the main tuning leaders of today's aesthetics, author of a history and a system of aesthetics, vigorous and powerful in aesthetic criticism, has set up for this one act two as fundamental to the whole aesthetics, the one as authoritative by quantitative, the other by qualitative relationship, they are: 1) (the principle of so-called perfection): "The more like next to the weaker notion that displeases weaker in addition to increased performance." 2) "The vast identity of the form elements like the vast contrast displeases necessarily the same." But I also knew with these two laws in aesthetics not get along, not even pretty to me tolerate it, undoubtedly, because I would be able me not to tolerate the Herbart's philosophy, in which they are rooted, but what is of course not to argue here . Just a curiosity, what pushed me about the first law, I will remember to make some remarks in mind that we will be spared so that the episode. A major implication of this law is that, already expressed by Herbart accepted by

Zimmermann, Act: "The Great precipitated next to the little ones, the little one next to displease the Great." Burke begins, however, the course Herbart could not study in s Abh "from the Beautiful and Sublime", the list of properties, which is something nice with the sentence: "the Beautiful first place must be comparatively small," and has even a whole chapter with the heading: "Beautiful objects are small", in which he and others, which he quotes for notices: "I have been assured me that are referred to in most languages, things that you love, with diminishing adjectives . least it is so with all the languages that I know. " Now you can, however, after a sometimes had moved from Zimmermann auxiliary principle that favors the smaller traced to the pleasure in the larger fact that the smaller the property of smallness to a greater extent has one) or more deviates from the mean, as the less small, just a larger is in a negative sense. Only it would like the clarity and the avoidance of reproach to move in contradictory ideas, be advisable, then rather just the by means of one or the other side stronger to explain Differing for Wohlgeflligere what the facts asserted by Burke and Zimmermann in fact appear immediately hitting only from different sides. But of course it could not thereafter get at a third party, despite Zimmermann and Burke, a mean between great and small things to explain as the most pleasing, and succeed, teach no less striking translucent facts for it.
1) In

fact, this corresponds carpenter see explanation in textbooks. P. 39, but why can greater leniency fallen more than lower ourselves in apparent contradiction with his proclaimed aesthetic right of the stronger.

Venus has fought to be the apple of beauty with Pallas and Juno because of the beauty of form in front of times, we see that it is abandoned By previous to even argue with giants and dwarfs because of the beauty of the size of it. Should I be elected to the Paris now, I would undoubtedly need to follow only a very general acclamation, at the cost of her immediately, which is in the middle between the two, allot. But I hesitate so easy to do it by reminding myself that I probably go to a show booth, not to see a dwarf or giant, but a man of ordinary size, I do not have words on seeing those find more favor than from seeing this? Meanwhile, I also remember that I still prefer people in ordinary life of ordinary size and look around with such a pervert, preferably with as dwarfs or giants. Shortly I prefer exceptionally before the exception, usually the familiar, and although I'm not doing this just to subject the impression of size, but in general, so that make a very general aesthetic principle it could, though not so common that favor and displeasure alone depended on it, it is only a lying everywhere Influential as other participation. Itself belongs to the enjoyment of the sublime, that it was not just a great thing but also something Ausnahmsweises, and often belong to other codetermination. Granted it to us in its size to more points of pleasurable employment, so we will of course prefer the little that is capable in its smallness to give only a few of them, but vice versa, when the Great is a richer source pain than pleasure. To take

the Great, claimed to be more activity than the small, which can make us sometimes be just right, but usually just tells us only a mid level of the same to, and the step from the sublime to the ridiculous is very often a welcome day's . After this I would share the apple between the pretender and the pretender, but so that I bedchte the giant with only the outer shell portion, the dwarves with the inner Grbsteil. By previous I want Zimmermannsche law not so much refuted as have only hinted at, so I would not like to settle down with his utterance as a fundamental law, and occasionally cause is found to also commemorate a deviation from at least the expression of other law. While acknowledging a limited or conditional validity of both laws can I endure at least not sufficiently covered so that to find all the aesthetic field. Even with three fundamental laws but that maybe could extract from the tripartite principle of Hegel's philosophy, I would not get along. It's just in aesthetics as in physics, in which we as yet have to make do with a lot of special matters, forces, laws, if we also assume that it eventually just a basic matter, a fundamental force, a fundamental law of the all physical laws are merely peculiar cases are. Without now all of the laws that allow for the aesthetics up, Resolving this systematically, and thus want to permuting the nature of a pre-school a school, I will still go ahead with a number of these laws here, partly to it at all examples of aesthetic laws from different viewpoints perform, partly because of the frequent and important applications that we have to do in all that follows it. For the expression of law, however, I need almost prefer the term principle. Every law is in fact a unifying principle for the cases handled under her, principle but another term as law, unless merely Statutory Royal term but also occurs among them. Now regarded as its special cases under the law objectively, summarizes both the concept of law conceptually these cases among themselves, and so both can not be separated. The first of the upcoming vorzufhrenden laws or principles I call the aesthetic threshold, the second is the aesthetic help. The three following that of the single link of the manifold, which I summarize the truth and clarity under the common name of the top three formal Prinzipe together. This will be the sixth of the association. How important are the first two of these Prinzipe, you will find nothing of it in the textbooks of aesthetics, which can either be interpreted in such a way that I consider important for them falsely, or that is lacking in many textbooks of aesthetics Important. The rest are basically known, for use only in the aesthetics far less developed or less recovered Prinzipe, as it is done here in the way of the bottom. Also, still can do some laws stand as aesthetic or use of psychological laws for the aesthetics, which I most just under new names introduced know, because I have no old find it, since they lack greater part of sufficient discussion yet, as there are: laws of development of sensual pleasure and displeasure; the aesthetic contrast, the aesthetic result and aesthetic reconciliation, the measure of employment, the aesthetic center, the habituation, blunting and supersaturation, and the pleasure and pain of

idea of pleasure and pain, from conception their positive and negative relevance to us, of free and inhibited expression of the same, and probably other laws, should the previous not enough, then what are to come hereafter only in accordance with, as occasion will offer itself as to its application. Perhaps there are still but an opportunity later more specific about it. The totality of these laws can submit different categories. Part they relate to formation ratios of the various types of pleasure and pain, sometimes on the same quantitative conditions, which can vary short qualitative and quantitative laws. Part they relate to the original creation of pleasure and pain, sometimes depending on their previously given pleasure and pain, which primary and secondary legislation. Provided in distinction to the objects form and content, a difference that still require a more definite statement, one can also distinguish it relevant formal legal and factual laws. Of the folgends particularly vorzufhrenden laws provide the first two, the law of the threshold and the help with the occasionally mentioned growth laws, examples of quantitative laws or Prinzipe, the following, the combination of the uniform, the truth and clarity, examples of qualitative laws. These three are also among the primary and formal laws, however, the law of association is one of the secondary. The clear confrontation, clarification and use of aesthetic laws is complicated by the following three circumstances. Again grab the conditions of pleasure and pain, which can be distinguished from certain points of view, but from other factors by a common moment in each other, where it is then theoretically not easy and sometimes impossible to tell them apart in a pure coordination; come second those that can be distinguished from abstract considerations, but in reality not so abstract before, but complicate more or less, where it is then difficult for the applications to divorce everywhere, which comes at the expense of one or the other condition, so how hard to find pure evidence of the effect of the decision taken purely. Third, all related to special pleasure conditions, laws provided a limited validity, admit as conflicting terms in the case of predominance even conflicting results, according to which these conditions can be discussed adequately only with more carefully Buck view of their possible conflicts among themselves. These disadvantages would indeed be eliminated in principle, if we are the same, which is received from the special sources of pleasure and pain for the most common last basic condition in all, it even makes only about pleasure and pain sources, ascend vermchten, but even if it had succeeded, what does not the case, one would be but rejected the applications on the special sources and relating thereto special laws of pleasure and pain, which are to be considered here, because those common cause but only as one, all the special causes linking, abstraction could be viewed from which to build a bridge to the special applications by the special laws in the same way as you, even if the final constitution of physical forces, or causes the movement would be known, but it will always go back to the applications to the Special Forces and Special Laws of forces. Since pleasure and pain, pleasure and displeasure, psychological factors are so

arrange themselves naturally also relating thereto, shortly aesthetic laws of the psychological laws of, except that in a psychology of general scope, is no reason the aesthetic especially in such detail and in to treat these and related composition, as it is now necessary to provide for the purpose of aesthetics. In that regard, the aesthetic laws concerning effects of the outside world to our soul, they can also be in the outer psychophysics are duly considered, but no less more than the aesthetic interests pursued to tougher regulations require, as this generally speaking previously possible. Now, you might still want the laws of dependence of pleasure and pain from the immediately underlying in us (so-called psycho-physical), bodily states or modifications to know the soul rules, beating the inner psychophysics; yes it is in this respect a fundamental need, but which can not be fulfilled until now, and the concept of aesthetics, even in the limit as it is conceived here, includes the consideration of the relationship of pleasure and pain to these inner states and changes over which to now can only set up more or less unsichre hypotheses.

Principle IV of the aesthetic threshold.

There is much of what makes us indifferent, however, but it's our nature, and probably would be able to stimulate pleasure or displeasure, other times really awakened. That depends generally speaking it, that it was the strength of the effect or objective of our degree or receptivity for our attention not to exceed the so-called threshold, ie the degree of the effect on the first of our consciousness is felt. Indeed, it is a general, not just for sensation of pleasure and pain, but also for them applicable law, that for becoming conscious of the same, a certain degree which is what they depend both externally and internally, the quality of the condition is not sufficient, it must be , supplemented by the required quantity, the required level. Now as long as this level is not reached, we say of the conditions of pleasure and pain as by themselves and the dependent pleasure and displeasure that they remain under the threshold. In fact, we can be so certain that countless foul odors floating in the air, due to their dilution we smell usually nothing. The worst tasting medicine tastes are not bad in homeopathic dilution. For much of what gave us fresh receptivity desire to susceptibility blunts, without going out, therefore, the delight has only reinforced to give back pleasure, and indeed how much meets our sense but too little of our attention and remains Us therefore indifferent. Depending on the consideration of the external or internal conditions of pleasure or displeasure can speak of a talk or internal threshold that must be exceeded, should become conscious pleasure or displeasure with a real pleasure or pain levels. Both thresholds but are not independent of each other. For any given level of responsiveness and attention, there will be a certain degree of external influence, which must be exceeded to herewith a corresponding specific external threshold, but how to change those inner conditions, a greater or lesser external exposure to will be needed thus increasing the outer threshold or fall, and so vice versa with the inner threshold when changing the degree of external influence. Is now on the threshold of

a sensation ever be exceeded, it must always be the inner and outer at the same time, but it can happen more by increasing the conditions of indoor or outdoor. Of conditions that can arouse even by exceeding a threshold of pleasure or pain, we generally say that they are in the sense of pleasure or pain, without being therefore really arouse such, as long as they are below the threshold. Even if pleasure or pain conditions below the threshold are insufficient according to the terms of the threshold, pleasure or pain to make noticeable, it's not the same thing as if they were missing anything, but their insufficient presence may consist of one of the following two aspects important are. Firstly. The closer to the threshold of the inner or outer conditions of pleasure or pain are, the more of a lower increase their degree, their strength will still need to let them exceed the threshold, the more favorable the conditions are so for the real origin of pleasure or pain . Second. A condition of pleasure or pain, which is under the threshold or would be if they would for themselves, can in composition with other types of conditions of pleasure or pain, which would in turn be under the threshold for a pleasure or give displeasure result, which exceeds the threshold, of which the immediately to be considered to help with the aesthetic principle depends.

V. Help or increase the aesthetic principle.

Before definite statement of the law, we explain the same thing in some peculiar cases. A poem is in a foreign language, nor granted the full impression of verse, rhythm and rhyme, but without the tethered sense. This impression is more pleasing than that of a random gibberish of words, but this complacency is so small that you would like to attach it without the sense of no significant aesthetic value in itself, and even exceeds in itself not easy, the threshold of pleasure. But lose the most beautiful poems all or almost all charm when you reflect its content in prosaic form of speech by the mind without verse, rhythm, rhyme also does not exceed the threshold of pleasure. Consider, for example: "you fill again bush and valley", or "past is the light of day," etc. By itself but to help both factors of agreeableness to exceed the threshold or rising above the threshold, creating a positive desire result which the aesthetic effect of each factor on size is incomparable. Appropriate assistance to afford the pure field of direct impressions of the melody, the melody and harmony of sounds. The sensual melody full of pure tones has very little aesthetic value in itself, and yet how much he contributes to the beauty of the song at. If indeed pure tones do not already full of pleasing would be as impure rough tones so would also increase from the interaction of these elements does not, the sum of their individual effects on bidding, grow up. Now generally, the principle is stated thus be: From the uncontradicted meeting of like conditions that afford little for themselves, it appears a larger, often much larger desire result than the desire values of the

individual conditions are equal, a larger than that it could be explained as the sum of the individual effects; yes it can even achieved a positive pleasure profit by a meeting of this kind, the threshold of pleasure are exceeded, where the factors are too weak, only that they have comparatively make a noticeable advantage of pleasantness with others. Cases of non-contradictory coincidence but especially those to designate where a requirement or condition is also a document for the realization of the other, whereas cases where the conclusion of one of the other is a hindrance, not include the principle. Under the principle in particular cases include those where a direct pleasing impression is also cause for pleasing performances Association, as the one where a lower pleasing impression is also the base for the realization of a higher. The above examples are selected from these two classes; plenty of other examples will give us the result. One conclusion of the aesthetic auxiliary principle is that the loss of a moment of complacency from a non-contradictory group of such moments of beauty without doing major demolition comparison, as the existence of a moment can make for themselves as to the beauty. Previous together but everything is true then, that in itself may not draw any conclusion from his important contribution to the beauty of the whole of the insignificant effect of a moment of complacency. To the pleasing impression of a work of art such as natural work, which we call beautiful, generally wear several moments in which can be by analysis but, not easy, it takes one of them to become an important aesthetic effect, and give us the size of the total impression account to give, we must therefore generally draw the principle of their mutual aid. Should it occur in full force, all moments have completely unanimous, as they say harmonious effect in the sense of pleasure. Where this is not the case - and all too often, conflicts in the arts as a natural - his performance suffers deductions that can be surpassed again by reconciling effects, but the rules for this are to look elsewhere. The previous principle can also probably transferred from conditions in the sense of pleasure on conditions in the sense of pain. If a speech that do not like us because of its content, is also presented with an unpleasant voice, so it is completely obnoxious. Only those cases to provide the type not easily noticeable and as such regarding the pleasure represent you because it eliminates possible, avoids, or by withdrawal of attention to them tries to escape. Explicitly the auxiliary principle is based on a consistent loose combination of conditions that aesthetically afford little for themselves. Should meet like conditions, which already provide for much, so much to increase the performance would not be any different, but not just any greater, but less of the expected individual, as to the amount, if different from the psychophysical laws that the auxiliary principle can submit, still apply. Because hereafter Although upon initial exceed the threshold of sensation in a much more rapid ratio than it triggering stimulus, but from a certain point of increase (the cardinal points) in weaker conditions, which may be called the law of growth of sensation in the near future, and so is to assume that if the desire rises higher by meeting strong desire terms, this would be a lesser conditions than by

the sum of the terms. But to admit that just as crucial for direct confirmations, as the law does not exist for the threshold and help.

VI. Principle of unified link of the manifold.

1) a statement of principle. It is an important principle to which it will be here by saying of his though simple enough, but looking at various sites and points of view, the use of some difficulties bidder. After establishment of the innate human need, to feel with active or receptive employment with a subject well, a certain change of activity keitsmomente or impressions, to which the subject must have the opportunity in a mani-sity of attack points. Lack the necessary opportunity in this regard, the subject makes displeased the impression of monotony, monotony, boredom, emptiness, baldness, poverty, and thereby drives the transitions to other objects. After just as innate facility but the man demands to be comfortable that for the whole period of employment with an object related all in the time and the space following moments of employment through points of commonality or, as we say in short, associated defined; failing which creates the displeasing feeling of distraction, fragmentation, incoherence, or even of contradiction, which also drives the transitions to other objects. So where ever the need of a change of employment, either for this or that reason, occur, according to circumstances you need for the expression of berdrssigseins or fatigue caused by the previous employment. Strange that the language is not quite as good descriptive and distinctive expressions for the two sides of pleasure, which meet the satisfaction of our principle, provides, as for the displeasure, which arise through the same injury. A work of art can we liked the fact that we are linking all of what it is to bring to consciousness by a single idea, but also by the fact that our study is published in the multiplicity of as associated parts and moments. These are actually different sides of pleasure, which must meet the full sufficiency, but how are they different language? At most, will be told that one of the first side, voted consistently, think of the second entertain. Soon pulls himself on the previous aesthetic principle around which is here, then together: that man to find pleasure in the receptive engagement with an object - for the active, the aesthetics is concerned not essential - a uniformly associated manifold presented must find it. What we call uniformly associated manifold, translated closer to watching a match of Several after a certain relationship with deviation to the other. This agreement does not need to be based in qualitative equality, but can also be in conformity of the parts of a whole to a certain purpose, a certain idea or causal link between the moments of an event (which always presupposes a function of the same law) are, and from find lower or higher viewpoints instead of how to continue to discuss and as will be

explained with examples. To be consistent link can not exist without diversity, because without such, we have a simple identity. In a short duration of employment but it takes is a very small manifold out to have found the spirit enough, and even positive pleasure, when there is no lack of unity in it, while us a diversity that makes no unity regarding claims that 1) not only resists the longer they are thrust upon us, but pretty much from the outset. And if we go over driven, the needs of the bill, to employment with something new, we do not mean to be a fragmented multiplicity, but only to something else, which is again linked uniform pass. In this respect seems to be the point of the unity of greater weight than the lay of the manifold, but would not say that the pleasure much on a preponderance of the unity of the manifold, ie, where the same outweighs the unlike you, hang, not a white paper to keep a pure sustained tone for the most beautiful in the world. With each larger whole, what should deal in a certain period, we will rather require much inequality that just kind must be uniform and gives bound thereby to find us cuffed.
1) If

the members of such a manifold we are agreeable to each, so this creates a conflict with the discomfort, which depends on the lack of unity between UPHOLSTERY. Of conflict but the speech will later be first here refrain.

Temporal and spatial diversity occurred so far under the same terms as the spatial diversity, though to a certain extent also apprehended, but to be clearly detected after the other must be pursued with the attention in the temporal manifold but the continuing influence of the former impressions in the sptern into a certain simultaneity same reasons. However, they will contact at different points, characterized in that in the direction of the spatial diversity Verfolges more or less arbitrarily, at the time, inasmuch as it is not simultaneously a spatial sequence of which is given by the self-imposed. That unit covers can rise to a different level, explained this way: In a variety of distinguishable parts, elements, moments, short limbs, also between the members can not only the members themselves, but more than once, the differences or ratios more or less are equal or unequal. By the equality of differences or ratios between given elements of a whole, a higher standard reference of these terms is justified, as it is the individual members for themselves by virtue of their subdivision plays, or the whole thing would come between the links on discontinuation of the differences. Instead of equality of differences or ratios but can also mediated by the same combination of links to some mood are the same. For example: The reference unit, which connects the parts of the circuit is higher than that which connects the parts of a straight line, and the relationship between the unit parts of an ellipse higher than that between the parts of a circle. Namely, in the straight line of the unit is directly established in respect of the same direction of all of its

elements. When circuits differs each another same item from the next in the direction from, but at the same amount as: short the differences and hereby also conditions these directions to each other for the adjoining each other or even to the same amount of each distal same items alike; in the ellipse, these differences are not equal, each element differs from the nearest equal or close to another angle from, but the differences between these differences, the so-called higher-order differences are linked by a common rule in which they agree together, and what the mathematician is able to express in one formula. - If a uniform surface striped uniform so justified the rule of striation higher unit terms, than the uniformity that belongs to every strip for them, or who would get a whole uniform surface by taking an equality of all parts of the differences represented by the uniform striations are brought into the surface, facing in the same successful intervals to the whole surface by the same. Of people all actions can be linked by the relationship to his own good uniform in itself, it can be linked consistently with those of other people also consistent with the relationship to the greatest good of all. Last-named relationship is higher than the former by the differences between the actions of individuals should be agreed in this sense. When viewing an image, which is a turmoil of battle, the moments of the behavior of each fighter find the idea of his efforts to overwhelm the opponent, linked uniform, the very different behavior Aller here but in a higher sense of the subject, what is it is in the struggle of all. In general, with the entrance of higher unit covers both the possibility of several aspects given the same as for the uniform direction of change of all parts of the circle are the same distance connects the same from a given point, what can be called a composite or multipeln unit cover. In the ellipse occurs at the higher unit UPHOLSTERY, which combines the elements of the curve, the one who linked the radii vectores, provided that the sum of any two radii vectores drawn from the focal points of the circumference, is the same. If not, as in the golden ratio, proportions of parts to the parts themselves mitinbegreifenden whole, but only relations of the parts are pulled together into consideration, the greater height uniform Bezuges can only exist due to increased number of differences greater diversity of multiple , while not vice versa enlarged number of differences required a higher unity reference carries. Before further and deeper depth discussion, we explain the principle in a number of examples which, seemingly very divergent nature to submit the same together, prove herewith for its large scope. But in order not wrong everywhere apparent contradictions to be found, Dreies will be to keep in mind, which by the way is not just for this principle, but is equally applicable to other aesthetic Prinzipe is already provided mainly by former general remarks. First place, it is objektiverseits attention to the unity and diversity considerably only to the extent, as it is regarded as such by us, is hereby converted into a subjective. Basically, nothing in the world is so disparate that it would not be linked through points of commonality, and nothing so similar that it is not abwiche in some

points, but so far we can not conceive of these points, they are not present for the principle . - Second, the single link of the manifold is indeed always a condition in the sense of pleasure to drive (see Section V), but by no means always suffice on its own, the pleasure over the threshold. While us, aesthetically not affect a single point, we are not able to be regarded from the outset, hear one which has become familiar to us all, including countless belong in our lives and our surroundings so to affect us aesthetically, our attention can not to bind, because we are jaded mind, however, miss the point of many a force in that we are distracted by something else. - Third, since the single link is not the only condition in the sense of pleasure, and there are also conditions to the contrary will sense it may just support both access the same sense conditions in their effect and lifted, as are outweighed by non-intimate, and from satisfaction with all aspects of the latter principle also disapproval or failure to satisfy the same pleasure arise if both would be only to a lesser degree than is the case without the conflict. Where now seems to hit the principle fails, you can always find the reason is in one of these aspects. 2) Examples. We distinguished by our principle two sides, one side of the unit and one side of the manifold, which must cooperate to favor. We first lift out examples where comes the first page especially obvious advantage. The simplest explanation in this regard is the principle in the favor of what we find on the uniform purity of a color surface on the pure part of a line, a pure sustained tone, the pure smoothness of a surface when Hinstreichen of the eye or finger over it by by the sensual equality of sensation, which links all the space and time points, and the ease of comprehension of this unit bargraphs indicates satisfies the unit Prinzipe in most perfect degree, while the manifold is pressed down here to the lowest possible level, only to the extent not entirely absent, as they have in the various space and time position of each point can be found. In fact, even the uniformly colored surface, the pure sustained tone, a certain variety of the latter factors can not be denied. One example, consider the throng of stars in the sky, or the eyes of a cube, or hearken to the beats of a metronome, so you will not be able to hold on no matter the diversity of spatial and temporal location at all, only that they certainly by the flowing extraordinarily decreases in clarity. But there remains something else to be taken by the eye in the multiplicity of points of a uniform surface, fix constant as the same point. We have now also specify the simplest and clearest terms with the smallest possible unit, undeutlichsten manifold. Now of course we all like is boring soon if it is to deal a long time. But even the most beautiful work of art will get bored, shall we linger too long here, it takes only the need of change in the pure uniformity or uniform purity of a faster than an art, which is the need of an external less quickly felt for greater internal change leaves. In general, however, the eye like, pours some time on a pure color table, especially when it brings out the existence of their purity to consciousness and can be located on the pure part of a line, enjoy a pure sustained tone well when the attention it depends, while every spot, every Sprisselchen any random bend, thickening or thinning of the

way, pure and straight solid line, every sound as a blend of a tone, each unmotivated wavering in its height, any roughness, which we encounter on an otherwise smooth surface , reduces complacency or disgust, by reinforcing the interfering unit reference point is at any other point lost because hereby the relationship of the whole unit suffers a fracture. It may be noted that the growth of displeasure does not adhere to an impurity with the increase of the impurity self-same step. To a much lesser proportions, and may almost did not get added a second, so the displeasure usually grows well, but, a small smudge on an otherwise completely clean surface disturbs us exceedingly. Some woman is on the first spot, which is made on her white dress, table cloth, beside himself, is added a second, so she thinks it was nothing to lose in it. This course will also ethical conditions in consideration, but they go hand in hand with the aesthetic, moral, and it is of the same spots as physical. Of this lag in Miflligkeit behind its cause can be given a double reason. Even grows after one (already touched in point 1) psychophysical, by reference to pleasure and pain stimuli transmitted to the aesthetics, laws a sensation even with amplification of the stimulus over a certain degree also weaker than the stimulus, or even no longer noticeable. A light, placed in a nearly dark room adds greatly add much brightness, a second equal addition brought the brightness can only grow disproportionately in lower ratios. Second, the failure so far but not quite doubled with doubling a disturbing place than the disturbing bodies themselves and the ways of their disorder offer something like. Both reasons are likely to be generally considered to pull together. So little uniform purity can we long to tie itself so welcome us but in general the purity of Konture, the colors in the parts of a work of art, because every part of yourself only brief consideration takes, beyond which he started We would be boring. Let's go quickly from one part to another through in order to become aware of the connection between them Bezuges higher unity, and now to the granting of the lower can connect to the uniformity of parts thus advantageously. Undisputed Although we can demand the purity of contours also because of the to be displayed object thereby sharpen the light, but both does not contradict itself, but helps himself, otherwise we might not be a purely solid line also save a drawing like better than an impure solid. The strongest disturbance affects of course the uniformity of an impression through its complete interruption, and one can say that such a manner everywhere in the sense of displeasure, except that the threshold of pain is especially not exceeded by individual interruptions everywhere, and regularity of interrupts a can cause compensation, provided that a higher unit reference occurs, which is able to compensate for the fraction of the low, as in any case apply to the clock in the areas of hearing, but this compensation is not enough everywhere else to. A somewhat intermittent light stimulus can be downright embarrassing us by his interruptions, the Hinfahren across a rough surface whose roughness but rests only on interruptions is no one-being, and just as any displeases an irregular rattle. Sudden severe changes come close to the complete interruption in effect. So is widely spoken all rough, Flash, Rugged, Rectangular, Abrupt, Torn at a disadvantage of complacency against

the gentle, Round, Smooth, self-Related, from each other following, by transitions mediated, and we make not only unconsciously the idea of a Ungeflligkeit of those expressions, but they also need to refer to such a downright. The aesthetic advantage as disadvantage of the previous points can certainly be surpassed in many cases by counter-effects. That the woman rounder, smoother shapes than the man who founded generally speaking a beauty advantage thereof which occurs under the previous point, before the man, but would be impossible to understand the feminine beauty alone from this point and measure it. The big fat wife likes us anyway, that in a flowing curve of the forms, the most beautiful, more so surpasses the most beautiful man, but already therefore less because less satisfies the need of the manifold by the simple curves of the form for a not too brief consideration is, but we dislike even because of the forms of obesity, the unpleasing idea of a weighting of the body by a mass that is added to its forces not only its free mobility hurts ties of Exceeded youth, sluggish life, however, in Persian and Turks, which slow relaxation rather than like displeases, because of the reduced need for variety and receding associations that young girls are even fattened, to make them so lovely with rounder shapes. A square cup would be able not just to please as well as a round, regardless of it for the purpose just as well correspond, because, all else the same set, the round is even more pleasing than the Angular us, but in many cases pull us but for the purpose or other constraints sake of the Board, even before the sharp corner. If one only presented as uniform, white or colors marbled surface, dashed, dotted, then the manifold, but the uniform reference of all parts of the area grows more or less lost. If now a variation, which is brought into the same, very prinziplos are such Here as big as small, regular here as irregular, red here as black blobs to rectilinear, curvilinear, kinked lines attached to each other on the surface, as experience teaches that no one likes, and even the tattooing of the Wild holds a point of view of regularity: proof that with the greatest possible diversity not only complacency can be achieved. If, however, passes through the mottling, dashes, stippling without strict rule, a certain common character, and even these names point us to such a way, so not only quite pleasing to such a surface by the unit cover, the presupposes that character, Although is less clear than the lost of uniformity, but may be noticeably pronounced enough yet to provide with regard to the increased diversity of a desire success. Yes, and in some circumstances, like many a like better than the monotone color without can generally calculate what must like better, because in this case are incidental circumstances and subjective moods into play. So not too long ago that we saw allwrts marbled library books, now you can see those anywhere. The latter example, however, has been playing in the consideration of higher unit covers inside, to which we now turn. The next unit UPHOLSTERY the simple unadulterated uniformity is the uniform repetition of the same simple impressions in space or time, as simple ear impressions is only approximated in this previous examples, chosen by quite regular stippling,

striping, Cannelierung of areas or regular clock sequence offered. In addition, however, the reasons for each together sedate rule, legality, order a more or less high and composite unit terms, such as symmetry, 'golden cut, wavy, worm line, meander, wallpaper and carpet patterns of various kinds, verse, rhythm and rhyme. Through each upgrade to a higher unity UPHOLSTERY about the uniformity of the lower uniformity itself is violated by the higher can exist only between a larger than merely spatial and temporal diversity of parts. This is obtained in variety, and occurs for a fraction of the lower unit Bezuges, as noted above, compensation from the higher one, herewith the double advantage that the greater variety of tediousness less easily and less surprising is space, and that the higher reference unit is contrary to a higher spiritual claims. But these benefits do not escape all disadvantages which may outweigh circumstances. Once found, that in some cases the fraction of the lowly unit bargraphs indicates perceived with greater dissatisfaction than can be compensated for by the ascent to the higher, second, the rule which justifies the higher unit cover, or be so complicated of such a high order to not to be intelligible, then it seems more like an order rather than disorder, and even takes the difficulty of the conception of a unified relationship with the same amount to. Although in a simple pattern we perceive nothing of the difficulty, but remains the reference standard of uniformity as to say the most intrusive. But if hereafter may remain under circumstances the simple unity regarding the uniformity advantage against a higher, it is still generally speaking impossible, by means of the first, the agreeableness to increase as high as higher only are not too high unit references, hence the frequent use that can making of such. So you are all vessels, appliances, furniture, regular form, insofar as it permitted the purpose, and even if he allowed an irregular shape just as well, loves clothes, carpets to cover walls with regular patterns;'s furniture, pictures on the walls of a symmetrical position to another; canneliert columns; lined bars according to the rule, etc, but looking at all the still maintain the benefits of the lower unit upholstery of uniformity as well as possible by the fact that the parts which occur in the higher reference to, so far it always allows the purpose smooth, holds in pure white or pure color and contours. In all cases, however, practical use is co-determination argue that apart from the above mentioned internal conflicts of the principle advantage of the higher unit Bezuges wither like to support each part. Otherwise we would not see so much white and monochromatic clothes and walls, on the other hand, so often can not be in doubt whether we rather on its regular form or associatively claims-making appropriateness of them have to write to its determination, the pleasantness of an object. Just generally speaking just seems by the advantage of the higher unit Bezuges before the lower uniformity and completely before the randomness by all co-determination, and shall so forth purer, the more there are none. But to have it as clean as possible, we must exclude such so much as possible, and in this respect nothing is more instructive than the magic so to speak, all co-determination noticeably withdrawn, performance of the kaleidoscope.

In fact, an arrangement may yet still be so indifferent or clutter so unaccommodating, the kaleidoscope forces by the composite reference regular repeating unit with all-round symmetry, the complacency, and a fairly well-known game makes similar already with bilateral symmetry. What kind of scribbles in ink we make on a paper, when we collapse it in the center or on the edge of Krakels so that a balanced impression of it being built on the opposite side, so grows the composition of the Krakels with the imprint of a complacency that only by the impurity, which gives the impression the trains, some demolition suffers. Unquestionably hereafter that even the pleasantness of the human form, the bilateral symmetry plays an essential part, only one side of the people to be like us, apart from of course predominant habit to take the human form of associative point of the eye, just as a irregular squiggles appear. Yes we violated by crooked nose, crooked mouth, the symmetry, it is strongly feel the beauty, which by the way is not excluded that still contribute to human beauty all other factors, because it is so to say so composed as the man himself But you can see the power of the auxiliary principle on this occasion. Taking the human body, its symmetry, its beauty will lose a lot more than you would think after the performance just meaningless symmetry that they could give him. With deviation from symmetry is thus reflected in the deviations from the uniformity that the reduction of complacency is not proportional to the degree of deviation grows. If a rectangle is only a little askew, we do not notice the difference and the Miflligkeit same remains with the visibility of the same at the same time under the threshold, but even a small difference if they just only becomes noticeable that complacency can significantly disturb or Miflligkeit transform. Increases the deviation, then so does the Miflligkeit to up to certain limits, but not so that we would be affected by the double differential with double pain, and beyond certain limits, where the sense of approximation is lost symmetry, has a further increase in the deviation no noticeable effect on the proliferation of more Miflligkeit. But that there may also be cases where on the uniformity of the lower, apart from any co-determination, can be lost through complacency to upgrade to a higher unity UPHOLSTERY due to excessive injury proves himself with the following: It is certain that if you hinstreicht finger over the teeth of even the regular carved gear, you do not have the same pleasant impression of it than the Hinstreichen a very smooth surface by the repeated complete interruption of the uniform impression, which lower the founded relation between unit, the advantage of periodic repetition, which justified a higher reference unit, offers over, and for the same reason tantalizes us ever so regularly intermittent light stimulus. But that it is this rather than offered as a lack of benefit of the repetition, in fact, substantiated by the fact that due to the irregularity of the repetition Ungeflligkeit grows, so the regularity of the Ungeflligkeit pulls something from. Also, there are other cases where the disadvantage of the frequent interruption of obesity proves not the same over the advantage of regular repetition. So we regelnliges a pleasing grid appears as a smooth continuous wall - which applies to intermissions in the temporal field of the

face, not transferred to spatial, - and a regular empty beat at least not an unpleasant than a continuous noise. Now that the behavior in these different cases is a different, can be heard from the principle itself is not a priori predict, but justified as little a contradiction against the same, since according to the diversity of conditions, the conflict itself may very well decide differently. That a regular beat with an irregular series of blows in a decided advantage of complacency is, will provide Nobody denied; also one follows the regular way even some empty beats not hate, probably more than a continuous merely monotonous noise by the attention thereby as it were rocked in place not unpleasant manner, only a longer continuation of the empty beating able to captivate the attention any more than that of any other single impression. The decisive evidence, however, that the regular clock rather something in the sense of pleasure than pain, which is not easily greatly exceeds the threshold only for himself, is that he in composition with other broad terms the same mind, which added bringing the music to him , the principle of aesthetic attention and increase sufficient, that is, are a major product of pleasure, as could be expected after the the contributing moments. However, the clock for himself will say little, a clock without music but hardly would be able to exist. Now meets the clock with the multiplicity of moments, which brings added the music, he will then tolerate almost indefinitely. In the melodic and harmonic relations of sounds themselves indisputably our principle plays his role, although not to the manner in which Herbart divides the pitch in the same unequal and that has led him to the strangeness, in contrast to the full octave of the root to find, and has led to no less strange bills, but moves to the manner in which Helmholtz equality and diversity of sounds as to their overtones in consideration. Only our principle can make no claim to offer more than a very general point of musical complacency; invoices are not at all at his remark reasons. With the previous examples we have kept us in the field purely illustrative conditions, by under such conditions brevity of sensory impressions understand at all. But the principle extends far and high in addition to the above ascending total area of our ideas that we may not traverse all that here, but want to touch on some points, after it has occasionally been used to happen in mention of co-determination, which flow from it . Thus, in asserting the point of view of expediency. In fact, one of the factors why we like the Expedient, although not the only, is that we find consistently linked by the reference to the idea of purpose all the parts of the functional whole. For the purpose idea but other ideas can occur. And so we finally demand at all of any art, that all parts of it are linked by a common idea or creating a single mood. It is in a sense the first imperative that we have to make a work of art, which demands are not excluded to the conceived under the idea of content and the demand of the unit but must be satisfied with the variety of content that is not the work of art from a substantial defect suffer. What now under a single idea, we understand this? Even relatively simple, because

abstract idea linking, in which not only all partial representations are linked by a common relationship, but in the concrete to link thereby also produces between all moments of execution that all related, directly or through mediations with her as something common . But not less than actual works of art our principle plays its role in so many small art games than how ingenious and witty comparisons, word games and others. Little things of minor aesthetic interest, of course, nor with many things into play, what not to take for now. Consider just one example: Mystery enjoy ourselves in that they allow for a given manifold of representations we are looking for the single link in the answer to the riddle only. The discovery of this relationship lies the appeal of the successful resolution, however, the probability that the resolution'll find an anticipation is the same, that this is, in fact, to make us see ourselves pleasure in guessing, for mystery, of which we know that there is no solution for it, Nobody likes guess it could have been just the pure pain of a fragmented complex idea, and he who is conscious of being able to guess riddles bad, it is also no taste. In charades but it is always beneficial when the task for the various departments syllables or words is somehow intertwined uniform, does not occur as an independent for each puzzle. Common ground now bears the charms of the guesswork and the pleasure of overcoming a difficulty with which we find ourselves grown by we have for a another broad principle to the needs of the unit, the need for a certain degree of employment, but doing the uniform combination of these employment , by request towards a particular goal, even apart from the nature of the target, and therefore too easy to guess riddles are not interested. But in general we want but that in each overcoming difficulties something else as overcoming self comes out, and like to read, therefore, a longer mystery even after guessing again by to give us the single link of the entire contents through the word of the riddle to delight; while noting with displeasure, what right do not want to agree about. But as much as we like fun to ingenious and witty comparisons, word games, pretty riddles, charades, so we hear anecdotes about this or that viewpoints can have fun, and so we like to read some of them in a row or we are not yet win over us, a long series of them in a row to hear or to read, even before the twentieth we have browned off, however, we probably read a whole volume of a good novel on a seat, so to speak, can not get rid of it, regardless We of each anecdote for a bigger pleasure than from any income would equal-sized pieces of the novel, and you might think that the excitability should be always get fresh content through the constant exchange of anecdotes. But even this change without linking thread makes us not long endure when reading, yes, if not every comparison, every anecdote in itself enough to the principle of the single link and else interested by the nature of the content, we would bear the less it . So much for the explanation of the viewpoint of the unit, which enters into our principle. Let us turn to the manifold, then we may first and foremost generally recall that the feeling of monotony so timely and more falls, the more it lacks variety,

according to which the mere uniformity of the same subject more than the uniform repetition of a simple shape, and this more than a composite pattern, but can also to many spectacles particular point, whose appeal, if not on the manifold alone based, but increases with increasing multiplicity, without the sense of unity there is progress along, only that it must not be lost, not to come in conflict with the first page of the principle. In the kaleidoscope never to do just one or two stones, but a majority of such, which arises only an advantage for the manifold without advantage for the single relationship that is always in the same kind of symmetric link. Long you can delight in the evolution of a flight of pigeons and starlings, and more so, the longer the manifold turns, pivoting movements, shape changes are the same. Now the swarm to the ball clenching, now it extends to the ellipsoid, now he offers us a broad, now a narrow side represent, now he pulls himself together and obscures the fact now it expands and becomes lights, now separated the mass, now she reunites, and often goes like lightning, a change into the other, you will not tire of the watch. Similarly with the evolutions and maneuver the soldiers. Indeed, even the movements of a flickering pennant in strong winds you can follow for a long time with entertainment and interest as soon spreads flat, soon hyping himself, soon engulfs in itself, that says he can not apart again, then but again triggers a new entanglement arrives, now rears up, is then driven back down to the sides. In 1870 the news of victory with every new repetitive bunting of the houses were often enough opportunity to talk with this spectacle. In all these cases it is not purely a fragmented multiplicity, but rather the unity of all parts is objektiverseits with the flight of pigeons and starlings by their gregariousness in the evolutions and Manvres the soldiers by the will of the commander and the intention of Manvres, at the fluttering flag by the force of the substantive relationship mediated, and of these, a single impression is subjectively made by all the changes through, but the pleasure of conversation does not grow with the impression this is always consistent single link, but with the manifold. The most effective means to counter the monotony of the objects are ornaments. To be furnished, such must always be subordinated by a uniform relationship to form, for the purpose of the article or the circumstances with which it is in connection to look at, be motivated, so do the same to the uniform impressions rather damaging as the same, so far as they but satisfy this condition, they are generally speaking can be the subject of so pleasing to appear more diverse they are. In works of art, where an entire structure of higher relationships than lower with a Abschlusse in the idea of the work of art takes place, the variety with the height of this structure is not only growing in virtue of multiplication of the differences of the underlying sensory material, but also the levels of about ascending relationships, briefly expressed not only on the width but also on the level. After this is at all in the ascent to higher relations one of the most effective means to increase pleasure of not only the stage after, but also to increase levels after what only it finds its limit and limit that higher relations in general are less easy to grasp require a lower and a

higher spiritual wealth and higher education to be really taken. 3) Factual conflicts and help. Several times we have had occasion to speak of associative co-determination of our principle, and Section IX elaborate on the point of view of the same, and for but now we highlight yet another very general terms of participation, which combines with the former frequently and crosses and may not cause less conflicts as support for the principle. For every object it comes out on the relationships of equality and inequality because what is our principle applies also to the nature of what happens in these circumstances, to what we are former short, as formal, the latter count as factual side of the object 2) it is not excluded that go into the factual circumstances of the page in turn equals and unequals but only in a minor way. In any case, the nature of an object is not quite in such proportions on, but one of them will still be able to distinguish a content or material which is subject to such conditions as factual side. Now the formalerseits determined by our principle aesthetic impression can also be determined at the same time so sachlicherseits in conflict or match aesthetically.
2) For

the formal side, we will also continue to expect ratios of noncontradiction and clarity, which will be discussed in the following two sections, and which corresponds to no less a factual side of contents.

The simplest example of such a conflict we have is that a pure bitter taste, a pure stinking smell us in any case, if we do not dulled on the other hand, dislike, whatever it satisfies the principle of uniform link as well as a pure color surface, the pure train line, a purely of sustained tone. The pure bitter taste etc but not displease us, because in the purity was up to something Miflliges, but because of its purity, the quantity of which depends on the quality of aversion effect grows. In this simplest case, namely the reduced material or material page simply on the quality. Against this, one can write the complacency which belongs to the pure color surface, the pure part of a line, a pure sustained tone, not just as apart of their quality from the principle of unity, since otherwise a pleasing by irregular and irregularly scattered blobs in itself color each uniform area should be able to beautify what is not the case further, since a pure and sharp solid line we like better than an uncertain and wavering drawn, regardless of the quality of the line both case is the same, and since we still prefer a song with a harsh tone of constant character to hear, such as with irregular meddling pleasing in itself, but emerging from that character sounds. If one demands against partly a simple example of factual support of our principle, so you only need it to show that (apart from associations, which can change the result) the same area we like it better when combined with a deep and fiery pure color than with pure gray or even black is coated. By Previous but we are made aware that we are all everywhere to pay attention not only to the existence of the single link, but also the nature of the uniform Linked to

assess the aesthetic success of the whole right, for what of us in this relationship examples the lowest aesthetic areas taught, finds its application equally to the highest areas, according to which works of art that satisfy the principle of the single link in the sense of pleasure to us but also by their repulsive content nor displeased, as well as against some order by a pleasing content can better liked. Where formal and factual side of pleasing assist, an increase of pleasure after the auxiliary principle takes place in case they go in the opposite direction, the pleasure or displeasure, after circumstances prevail or a wavering between the two arise, occur at all different cases. Thus the Miflligkeit by matching mood of all means of representation to a displeased idea of the same come with all the more force to bear, however, still may we liked the good cooperation mood, which are not then can generally tell what will prevail in the whole, it is rather to Will arrive the direction that takes the spirit of the view that it is more to the form or substance side. That the associative and objective of our co-determination principle can intersect with each other, is that the associative concepts that are determining factors to make a direct impression, in turn, the ratios of unity and diversity of subject, not only by their uniform formalerseits link, but sachlicherseits can also express this participation by the linked content. 4) Further provisions. The diversity of an object can grow from three different points of view: firstly, if the amount of space or time Various increases and, secondly, where the number of differences increases or happen differences from mehrerlei respects, and thirdly, if the degree of difference grows, according to which shortly extensive, multiple and gradual side of the manifold will be distinguished. aaaaaa, ababab, abcdef have the same extensive variety, as long as they include an equal number of different spatial or temporal parts, but to follow concerning the multiple diversity in the established order. A polygon maintains a constant number of pages the same extensive variety, as also changes the ratio of sides and angles, but the multiple variety grows when the sides or angles are equal to the same, and the gradual increases with the degree of inequality. In quantitative terms the unit for the first sight do not seem applicable provisions, but it is closer watched from three corresponding points than the diversity of the case. The equality or the same reference, in which the unit cover is, can more or affect fewer parts, and in virtue of which more or less completely, and may from more or less points take place, and finally more or less approximated to be respektiv perfect; whereupon according to differing designations as to allow the various sides of the manifold to apply, but you will be able to speak instead of an even multiple of a composite unit UPHOLSTERY. Diversity and unity can grow both quantitatively for all their pages, but also grow at the expense of another. They grow extensively at the same time eg when the uniformity or a regular pattern over a larger area extends or increases the number of

pages of a regular polygon with continued preservation of equality of the sides and angles. They grow multiplerseits also when the sides of a regular polygon are colored differently but in a regular variety. They grow gradually at the same time, in so far, speaks with greater differences between the members of the higher unity of a manifold, which is based on equality or combination of these differences in mood somewhat the same, where such is present with greater force. But it can also grow the number of difference, the number and the degree of differences without the increase submits to the old unit or unit creates, where such is not there, generally speaking, it is easier, lower than greater variety in single link to obtain, and a composite unit can reference between the various uniform criteria, of which it is composed, can miss even the single link. This initially involved the objective conditions of diversity and unity, but ultimately it comes from our principle to the diversity and unity of, as it appears in us, just on the subjective, which, although much depends on the objective, but also of purely subjective conditions has a considerable influence, especially as the direction and the relative degree of concentration of attention, the focus of discrimination, the degree of the capacity of higher and more complicated relationships, the total intensity of the set into play intellectual activity. So it may be that it is contemplated by a vast diversity objective only little attention from this or that point of whether or not the unity or diversity is little affected, a higher uniform point to a lower capacity miss at all. To overlook this that very complicated relationships come into play in the application of our principle. We expect to add that the pleasantness of an object that we want to be judged by not only by the degree of pleasure that he can provide, but also on the duration by which he is able to grant it, so according to the product of both must be assessed, but both factors do not generally depend on the same conditions, one can not expect is that the aesthetic success of the principle predict in each case with certainty and allow comparisons then everywhere with confidence. Meanwhile prevents not to draw the following sentences in so far as universal, as it is apart from conflict, which our principle subject to other principles. a) Any employing unified link our attention is in the sense of pleasure, if it does not claim to occupy us too long or at too great a stretch. b) The favor of uniformity or uniform repetition takes generally speaking, up to certain limits, the same as in space or time, beyond certain limits but with increasing extension. But the feeling of monotony can assert with unique repeat already. So we will be up to certain limits would prefer to endure the eye in a larger pure or like wallpaper patterned surface, as in a kiddies, but limit we the uniformity of color or repeated wallpaper pattern our office walls with borders and Lamperieen up and down, and it would be intolerable to us, even if the same should also forterstrecken on top and back without interruption. Even where the sense of grandeur grows with the size of a uniform object, such as the oceans, would Migefhl the monotony prevail if we do not also limiting beheld by something that is about sea and sky in full uniformity should continue into each other.

But that also may be cases where a uniform repetition of already the first time may displease us to prove, among other things, that we may hear told twice the same anecdote not, do not like to start two sentences in a row with the same words and suggest, and formed in musical taste octave or fifth gears do not tolerate well. c) the same extension provided it can be said that the complacency grows more so an ever more intense or more distinct sense of unity extends through an ever greater variety of in general, except that prevent conflicts, both at once into the indefinite increase. d) There are extreme on one and the other side where the unit is at the same time as increased diversity and depressed possible, or vice versa. For example, after the first page when a uniform surface expanding itself into Indefinite, after second, if no common character, as it still has any marbling, would be felt in an irregular and irregularly changing daub. Of such extremes, one can say that they necessarily displeased, and the more certain displeasure is to be expected, the closer a case is one or the other extreme. e) Between the two extremes there is a certain middle or average width, in which the conflict between unity and diversity weigh in an advantageous way possible for the favor, may be preferred from here on the unity or diversity at the expense of the other, it takes the from complacency, continuing the consideration will tolerate even a short time or if Miflligkeit.But this favorable point or most advantageous this width is different according to the difference of subjectivity and even after differences of states of the same subject. How does previous monotony receptive to delight in a greater variety, previous distraction to greater unity, youth will love a frequent change as age etc f) respect the diversity can be increased up to certain limits without corresponding loss of sense of unity through the introduction of higher unit covers the upgrade to higher unit covers is an important means to increase the pleasantness up to certain limits. With increasing height above certain limits but the comprehensibility of the unit suffers very relevance to, not to get rather lost. g) According as the mind learns to grasp higher relations, he feels a greater need to deal with such, and is easily bored with the same miss. In this respect the view of relations, links higher stage is a matter of higher mental activity, and higher plant such as development of the mind presupposes the rude people, completely the animals with the inability of such a conception is an important source of pleasure and pain from which consists of the highly educated people, by the existence of higher raw consistent relationships just feels so little pleasure, in the absence thereof such as missing with pain. h) Can the principle after all 'the more it left a large uncertainty in the individual case to pulling inferences, so you can hand in each case, under the emotions of monotony or fragmentation judge whether it is hurt by the one or the other . 5) the principle of universality.

Although we have really only draw our principle here in its significance for aesthetics, therefore only for receptive impressions that are conveyed by the sensory side, into consideration, it may nevertheless be useful to add something about his going beyond general scope, especially no strict definition in this regard take place. DC input was the principle of universality expressed that it equally applies to active and receptive employment. Any physical and mental activity wants to smugly us to be executed in a certain connexion, does not tolerate frequent interruption, but can also fatigue from monotony, and higher aspects of who is powerful, also requires such for linking the moments of its activity. Struggle futile with hands and feet not enough for us, because it lacks a linking ideological motives of the individual movements, but also directly in the physical activity will be linked uniform, and it is not without interest, the clock in the zones thereof an equivalent role play as our receptive ear impressions to see. In fact, all our movements, we prefer to take clocked manner as before without clock when the irregularity is not in the sense of a purpose. We are clocked manner, breathe clocked manner, let the swallows while drinking moderately clocked follow, bringing the spoon to his mouth moderate stroke, beat a moderately clocked a nail drums for entertainment clocked manner with his fingers on the table. In the dance, however, the effect of the measure of our own body movement with the rhythmical impression of the music and the other elements of the same to a higher power. Increases Even in the very involuntary movements into it makes the advantage of the measure submitted by the person in general more comfortable so is, the more regular is its heartbeat and the peristaltic movement of his bowels, so he is on the whole so as to better, more regular his order of life in general, that is, in each period more regular, he repeated the same work, if it's just no lack of variety between them are reasonable, whereas strong deviations indeed be loved as exceptions, but also may occur only in exceptional circumstances. Regular period and clock but have this in common a recurrence of the same moments in equal periods of time, except that a continuous periodic motion has a dual aesthetic advantage in against the clock secreted short strokes that each period even includes a manifold in itself, and that no full break the motion takes place. For this purpose, some casually, corresponding to the inner psychophysics of aesthetic feelings remarks, to which the large role that we see play the regular period with the bars on her unterordnendem active and receptive activities, may well give rise. Voraussetzlich based light as Toneindrcke to vibrations in the nervous system, and thereafter, we can even the agreeableness of purely uniform color space, such as a pure sustained sound attributed to the principle of matching periodic movement, except the first, if added all particles the retina in the same periodic movement, the latter case the particles of the auditory nerve will continue to receive such gehends. Next we could think of hereafter that each pleasing colors, patterns and piece of music to us only through together more sedate but commensurable Periodizittsverhltnisse 3) liked the nerve vibrations, finally, the hypothesis even

more expanding and enhancing, think that all sensations and awareness activities at all based on vibrations in our nervous , and all the pleasure and pain on that approach, the vibrations in a simpler or compound Exploder period beyond a certain limit, the mood in full cooperation commensurate conditions or withdraw. It is very possible and I think even likely that something of the kind takes place, also occurs in a much, elsewhere expressed by me, just a little more generalized hypothesis into it (see section II, point 2); But once but until now it may only a hypothesis, which can be a reference to actual conditions and laws, as far as can be found such, neither replace nor confuse and secondly they would still require additional precision to enter accurate observations and experiences held at the to be, and finally it is just a hypothesis of inner psychophysics, from which, after earlier made observation in which we put into our aesthetic to the restriction here to make no use, provided that's in this just is not the conditions of our sensations to physical activities is what are the feelings in our heart, but (with skipping this unknown to us pontic) are involved around the relationship of sensation to the effects of the outside world, as far as pleasure and pain there, after which the aesthetics of the facts of the outer psychophysics of rather transferred to the purely psychological as internally psychophysical area.
3) The

periods just as commensurable described here may differ from each other according to their size, but must be absorbed into a larger period, that they the same again and again in the same phase as the beginning of the same meet after each procedure and repeat the same composite sequence from then on .

The science is based on our principle of the formal (independent from the substantive content of scientific observation) general joy we find it, seek common points between different things, from single general points to abstract laws of special considerations, laws, principles always rise, but conversely also perform general considerations, laws, by the principle individuals to pursue in the applications derived from the individual himself more general. It is simply not enough for us mere unit, nor the fragmented multiplicity, but only through formation of one by the other.

VII principle of non-contradiction, unanimity or truth.

Generally spoken, it is in the sense of pleasure, of unanimity or contradiction of ideas or thoughts that present themselves from various sides regarding one and the same object, to become aware, in the sense of reluctance to perceive a contradiction between. It applies, however, the term conflict and to understand its opposite unanimity as absence of contradiction correctly. There is no contradiction in a thing present at the same time as a black and a white, if the idea of black and white on several pages or parts of the same concerns that are not the same thing basically, nor a certain point of the thing after another present as black and white, which no longer is basically the same thing, the term of such

changes, we rather quite common; well but imagine the same place at the same time as black and as white, and, although such a contradiction is not of direct perception of reality can come in to us, we can but where such are not or not fully subject to our experience, be a cause of certain page, there are a demand that one to cherish of others, the contradictory notion, or it may be on some occasion a be cherished notion, which contradicts the notion dependent on direct experience. Thus, historical information with each other, or historical information with inferences from facts, or theoretical conclusions with each other or with observed facts are in contradiction or mismatch. Now it may be that such events occur contradictory ideas at different times and we, as we are once the one that anderemal Occasions yield to the other, not even aware of the contradiction. For example, we read the news today that at the time of a historical date, the sun was darkened, one year it seemed to have a message that they want during the time without both information to adhere to each other. Or we read in the Bible today, that man lives in God, and tissue was, and find some other time cause us to face God as a man facing the other. Where now the opposition is not perceived because the memory is not proposing a bridge between the conflicting ideas, is also missing the cause for pain and is the contradiction aesthetically indifferent to the pain occurs but so much easier than the threshold, the more in a presentation the memory of the contradictory asserts. As little as everywhere aroused displeasure the existence of a contradiction, the unanimity of ideas arouses lust everywhere. To see that a planet takes a certain time to a certain place, contains no contradiction, but even if we are aware that there is no contradiction here is that no occasion for pleasure, but probably, if we are aware that be observed as consistent with its calculated, or two different sides of it out bills together right. And so is all the consciousness of the possibility of contradiction or the real solution of such between two different pages that present themselves to ideas to justify their desire to match. The agreement as the struggle between two ideas or imagination circuits may be more or less deeply engage our other field of knowledge, thus by a Is based matching, or a conflict with other more or less ideas or imagination circles, it can also be practical consequences for us more or less. Now the more is one or the other or both of the case, the easier it occurs respektiv the pleasure or displeasure at the match on the conflict over the threshold, however, it also remains slightly under opposite conditions below the threshold. Yes a us theoretically and practically indifferent opposition may even take to wake us pain, give the impression of mirth or ridicule, as here, the taste for us surprising combination of contradictory ideas through the medium of those they relate to common gains the upper hand, whereupon elsewhere to come back. A conflict takes place but here anyway, why is it that the same is a funny contradiction, on the folly of the other angry. The previous summary and conflicts disregarding we can say briefly: if of different other occasions to imagine the same thing occur, it is to be aware of in the sense of pleasure that they really lead to a matching notion in sense of reluctance to become

aware that they lead to a contradictory idea. Presentation at one and the same thing but it is when we relate the concept to the same room, same time and by the way a non-contradictory in itself complex of ideas, which is related to this space and this time. If no contradiction between pieces is the same within a contiguous circle of ideas, we measure this connection inner truth with, regardless of whether the ideas relate to external reality and them or something equivalent in the outer reality; speak, however, of external truth, where a job related or a single notion refers to the existence of external reality and contradiction consists of the entirety of the erweckbaren by external reality shows, since we, the external reality can not even have in our mind, without us an absolute criterion for have outer truth.Hereafter depends on our principle pleasing that we have the knowledge of internal and external truth apart from the nature of the content and usefulness of the truth, and the displeasure of what we on falsehood and lies apart from the nature of the content and the evil consequences have the lie. We can describe the truth and untruth as formal side of pleasure and displeasure. By us but something quite apart from whether it is true or untrue, please according to the nature of its contents, or may displease, and the truth generally speaking also useful, the truth has harmful consequences, or enters into a pleasing or displeased context, can be accomplished by consciousness of the pleasure and displeasure at the truth and falsehood are also determined what we could call the factual side of the pleasure and displeasure to it, but really not so much the truth and falsehood itself, as that in which it manifests itself and what follows from it, concerned, there arises among other Prinzipe. The formal side of pleasing enough to the truth already out on their own, without necessarily everywhere to be the only effective, looking at the science, the truth and the truth can ask the representation in art, so we do not rest in the science rather as to be of no side longer finds a contradiction between two ideas or presentation contexts and are satisfied only of works of art, which first meet the demands of inner truth, according to which nothing individual the idea that brings the whole thing, or what so if does not coincide but related, no part of the ideas which may contradict the whole of the rest of the awakened, secondly satisfy the demands of external reality as far as we find reason to assume a coincidence of the art with external objects to the same idea or purpose. However, in this respect, the music not in the visual arts is the case only to a limited degree, the inconsistency of a work of art with the outer reality will not be generally displeasing. Also, one can make observations about how far deviations from the outer truth in given genres allowed or are required even for the benefit of other aesthetic benefits, but this belongs in discussion of art, which we will for now not more than a few brief examples want to come back in a later section in more detail to it. An angel with wings, does not in reality before, but we can not assume that the painted angels to imagine a truly occurring angel, in which case he would really displease us, but only that he should be a heavenly messenger of God symbolically,

bringing the wings very well tolerated. The wing itself but must be painted so that they appear fit to fly, otherwise contradicts the notion raised by their perception of the notion of her destiny. A novel, we can very well read with pleasure, but we know the people and events of reality are the same strange, we know at the same time, it is not to do representation of concrete reality. So no idea contradiction. But real or psychological impossibilities or improbabilities strong, he can not contain, which contradict the general conditions of existence, their consciousness to us when reading the novel, accompanied as a receivable.

VIII principle of clarity. Summary of the top three formal Prinzipe.

Let's take a look back at the previous two Prinzipe that the uniform combination of the manifold and the unanimity or truth, so that rested in the fact that ideas that (temporal, spatial, conceptual) are of certain side different from the other side something common must meet in order to be in the sense of pleasure, this is that it creates an idea of something different sides voraussetzlich identicals also really need to meet the same to be in the sense of pleasure. Both Prinzipe I take with, rather to be mentioned here only briefly, as to be discussed in detail Prinzipe, the clarity, together with the names of the top three formal Prinzipe. This third principle intersects with the other two, by the favor of the point of view of the same it depends that the same and Unequal, Unanimous and opponent to enter into a complex of ideas as such so far especially over the threshold into consciousness, an aesthetic effect that Prinzipe to make it possible for one side or the other, whereby it can happen that we find joy in the clarity of viewing, making the Miflligkeit same from the other two principles is noticeable to us. For this formal Prinzipe can just as well come into conflict with each other as with respect to the factual nature of the content principles. By the philosophy, the highest scientific tasks, it also examines the claims of the top three formal Prinzipe in one to suffice, and the philosophical quest is no longer needed after more abundantly, as to not only the entire field of knowledge without contradiction exists in itself, but also by more general aspects where possible linked a common viewpoint uniform and his involvement has flourished on both sides to full clarity. The formal joy of driving philosophy was not only the highest - if we judge the height of joy on the height of the area of its utterance - but also to be the biggest, if not in accordance with, as the aspects ascend higher or the higher point be carried out into detail, some security, some of comprehensibility, used to suffer some clarity. The art arises not equal to general tasks than philosophy, provided the consideration of their Prinzipe even one of the tasks of philosophy, but has in the realm of ideas, which they awakened by their agents, the three formal principles not to be less fair than the philosophy and all science at all.

IX. Aesthetic principle of association.

1) input. Under principle of association I understand a principle whose importance and

impact in psychology long been known and recognized, but hitherto little appreciated in aesthetics as a whole. It would be too much to say that it was not appreciated in it; yes how could it be important for the aesthetics, if it had not done its importance is already asserted. In fact, the principle benefits are widely recognized because they occur everywhere, without, however, so that the principle from which they flow to clearly recognize or acknowledge. One remembers well from his psychology in aesthetics, but rather get it out of the contemplation of beauty, as unseemly to eliminate in the same einmengend, to use as his explanation. It is true that the English Locke, Home, Sayers, among the Germans Oersted, before Allen Lotze, have given him also as an aesthetic principle, a greater and more equitable consideration, but none of it has hit us, only the neglect and rejection of it has in beaten by us. Kant has only thought in his doctrine of the so-called accompanying beauty of the principle to bring it in terms of pure beauty except credit, has found his successor in it, and after you explained it this way for dismissed, one has also This page no longer cared about. Schelling, Hegel and their successors have not done it from the start, one of them could believe that there exists anything of the kind What Herbart says about the principle, has to contribute the same only to disregard (see No. 11).. No wonder if, upon the art connoisseurs and art writer who depend on the philosophers know nothing about it or want to know; completely the artists and laymen, in turn depend on this. In fact, as I held in 1866 at the Leipzig Art Association a paper on the principle, the substance of which is below, only slightly expanded, finds that he aroused the interest of the laity, as if it something both problematic and new, which is but could hear, performed, made quite the fiasco philosophically trained experts whose circle of ideas he threatened to disturb, and an impression of it in the LtzowSeemann'schen periodicals. f picture. Arts (1866. 179) was the editor note, as an "original" test "a new deity in the aesthetics introduce" called. So little new and original now also the principle really is, yet it may a little deeper and more emphatic representation of the same in aesthetics, as it has so far become part be out of place. And so I seek the same against the since then prevailing disregard and contempt to show that, so to say half the aesthetics it hangs after the way earlier Lotze even most of the aesthetics made dependent on 1) , but because he no system, but only a history of aesthetics and some aesthetic essay's 2) has found or taken given no opportunity to develop the principle in such detail as is done here.
1)

This, Himself subordinates in if the main effect of the music, however, a very large version of the Principes, to where I do not want to extend my hand, its essential significance. (See pages 109 and Section XIII.)
2)

On the Concept and d beauty of the conditions of artistic beauty. In 1845 and 1847. Gttingen. Vandenhoeck and Ruprecht.

While I understand such a far-reaching dependence only from a certain point of view. But intersect in various general aspects of aesthetics, of which they could be half or more than half make dependent, and it will prevent those elsewhere to meet

with other broad considerations nothing. Our way we raise it again from below according to the explanation in the simplest examples. 2) Examples. Among all fruits perhaps the most beautiful, or if you find the beautiful expression too much for the eye Loveliest should be the orange or orange. Previously, this was even more the case now than where they are designed for all public sales tables at almost every dinner table for dessert place: for each stimulus blunts out due to its frequency. But I remember well what to say so romantic charm the sight of this fruit had earlier for me, and even now you should not prefer her in appearance. Wherein lies the Lovely their appearance? Of course, everyone first thinks of her beautiful pure gold pure color and roundness. And certainly is much herein, perhaps one even thinks that everything lies herein. So, what else could it be? But if the reader asked so, this would be a proof that our principle it is not present, or should beifallen him something, it would certainly come under the principle. So you might think for a moment that really is the whole appeal of the appearance of this fruit in its beautiful gold color and pure rounding justified! I say no, because why else did not like us berfirnisste a yellow wooden ball just as good as the orange, when we know that it is rather a wooden ball than an orange. Yes, but that the Orange has a rough shell and roughness generally like less well than smooth, as is demonstrated when comparing different wooden balls themselves, and is within the scope of a previously discussed Principes, yet the rough Orange we like better than the painted wooden ball 3) .
3) Burke

s treatise on beauty and the sublime does not say, however, one side of hyperbole: "The smoothness seems to be so much of the beauty that I do not remember a single thing, that would be fine without it .... A very considerable , and perhaps the most significant part of the impression which makes the beauty of this property is attributable. because you take some a beautiful object, and give him a rough and hckrichte surface, and he is us no longer like. On the other hand it may still so missing many of the other ingredients of beauty, it is us, if he only has this, better liked, as with all the other without it. " This can not be in a merits of pleasantness of form and color in yourself, in this respect, both objects are the same, or may even have the advantage of wooden ball. The advantage of Orange may just be that we just see an orange, but no wooden ball in her that we establish the importance of the Orange to their shape and color. The significance of the orange but is certainly part itself with form and color, but by no means alone, but in the totality of what it is and does, especially in relationship to ourselves and acting. If even now the meaning is immediately present only the shape and color, the memory adds the rest, not individually, but added in an overall impression which it contributes to the sense impression in; enriched him with it paints him as to say that from , we like that short call the spiritual color that comes

on top of sensuous, or the associated impression that connects with your own or direct. And the fact is it that we appear more beautiful than the orange, the yellow wooden ball. In fact, because of the looks, sees an orange, just a round yellow spot in it? With the physical eye, yes, but mentally he sees a thing of lovely smell, taste erquickendem, on a beautiful tree, a beautiful country, under a warm sky grew into her, he looks so saying throughout Italy in it, the land where a romantic longing drew us from time immemorial. From the memory of all the spiritual color sets together, bringing the sensual is glazed embellishing: however, the one who sees a yellow wooden ball, just only DRY wood looks behind the round yellow spots, is rotated in the turner's workshop and painted by the painter . If both the results from the memory effect associated so directly to the view, so completely fused with it, determined as substantially the same with the character, as if he were a part of the intuition itself. Therefore, we can of course be slightly inclined, with the same expected as a matter himself, and only by comparisons, such as we just hired, can figure it out that he is not. Another example: Why a red cheek of a youthful face like it so much better than a pale? Is it the beauty, the charm of the red se? Common ground that the share of it. A fresh red pleases the eye more than gray or Mifarbe. But, I ask again, why we like the same thereafter a fresh red nose and hand not as good as on the cheek? It displeases us instead. The pleasing appearance of the red must therefore be outbid by a miflliges element in the nose and hand. What can be wrong? It is not hard to find. The red cheek means our youth, health, happiness, flourishing life, the red nose reminiscent of trunk and copper disease, the red hand washing, scrubbing, manschen, these are things we have not even want to drive. We also do not want to be reminded. Conversely, if the red nose and pale cheek as a sign of health and temperance, the pale red nose and cheek appeared from time immemorial as a sign to the contrary, as well as the direction it would be our pleasure to be reversed. The North Americans and Polish women really prefer a pale cheek a red, and if necessary, seek the pale to gain even at the cost of their health by drinking vinegar or other means. You mean now probably because they wanna be like better than to blush? Certainly not, but because they have become accustomed to prefer the character of a fine constitution, higher education and position in life, to see the red one, the only rural health, and the former in the latter pale cheek. The Chinese crippled feet to their ladies appear for the same reason pleasing, the most beautiful natural rural clumsy, and give them their idols, fat bellies, because they are used to seeing the chief dignitaries of their empire with pot bellies, and the idea of a certain grandeur about earthly hardship and work, which makes it certainly does not come to big bellies, make it. I once heard a lady say, one can the beauty of a human foot but actually only fair judge, when he was shoes. Was not one of the virtues of this lady a special sincerity, they would have probably spared to do this saying so strange it may seem to most. But he has something very true. We learn the importance of the human foot

almost only know, while it hides the shoe and are only on the importance of the shod foot right-oriented. We see almost naked only to its own foot, which is not always the most beautiful, and the foot of statues by which we maintain seen in a statue at last, so we are the relations of the foot which govern our pleasure in the bare foot just not as common as when shod, and while part of the assessment of the former beauty of a certain experience of art, it is necessary to assess the elegance and delicacy of the latter only from ordinary social experience. A blind man who could take possession of the forms just by touch, was asked why you probably liked the arm of a certain person like this. One guess about: she answered because she felt the gentle train, the beautiful fullness, swelling of the forms of the elastic arm. Nothing of all this, but because they feel that the arm was healthy, active and easy. But she could not feel directly, but only associate to the sensation. Now I do not believe that the direct impression, where you want to see the sole reason of the pleasure was without a share of it, but you can see it that the associated impression more vivid consciousness came to her. With us seeing the reverse is true. We believe a beautiful sight as it arms its beauty, without suspecting that we see in most of it. No less than the area of the visible and palpable, the principle through all the other senses areas, including the following intervention offers a selection of other examples. A woman who loved her husband very much, told him how glad I am that you have such a pretty name. The name was not very pretty, but she loved the man, so she liked the name. I myself remember that I as a child the name Gwendolyn very well liked, until I met a girl from fatal appearance and character with that name, soon I became the name fatal, and since me since no particularly gracious Cunegonde is encountered, it is the impression remained. The frog cries in itself is not graceful, and in the concert hall where there is much to do to us or to one's own direct impression of the music, so you would also hear a chorus of frogs croaking and no singer. In the wild, but we like the frog cries partly as an expression of the well-being of frogs, partly as an attribute of spring. It should express the pain of animals or in November instead be heard in May, so it would be insufferable. The nightingale singing and the sound of bells Alps are among the Konzertstimrnen the great outdoors, while not shouting just like the frog, but appeal by association with us far beyond their own direct or performance. Previously had the sound of the post-horn by the memory of the trips he awoke, a stimulus that stood with its direct effect in any musical situation, I still very well remember from my youth. Now his appeal is pretty much sunk to its low musical effect, if not among them fell, as you now prefer traveling by railways. The Post seems to us now a worm, however, it seemed to us earlier wing to lend into the distance. An educated economist told me that it inspiring him a strangely pleasant feeling to enter into a barn and when he had just cleaned up or stirred up to feel the smell of manure, creating the impression of fertility, which will produced by the fertilizer, will

therefore particularly lively awakened in him. The roast in the kitchen, which is still down warm fresh bread, the fresh roasted coffee, chestnuts in a hot oven, giving off a smell that seems the most comfortable. Here one can ask if this amenity contrary to the peculiarity of the odor itself or of pleasure, whose imagination is awakened by the smell depends, and I confess it to myself not to clear have to be able to come, so little separates this the direct and associated moment of impression. In Persia we know the use of knife and fork not, and if one engages in a Persian rice dish, he recognizes equal to the feeling that the cooked rice is tasty or not. This goes so far that a Persian Shah against a European envoy expressed, "he tag not know how one can make use of knives and forks in Europe because of the taste but start already with your fingers." But he can start doing only associative. And as good as a Shah, a dog adds to the principle of association. Burdach says somewhere: a dog that was so spoiled that he would not eat DRY bread, it did not do, than before his eyes, a dry plate was wiped so by to taste the otherwise usually dusted with bread gravy with believed . But, I hear me shout from the top down: why all this effort of exam-ples? what does it gained for aesthetics and to win at all? The orange, the cheek, the nose, the hand, the foot, etc. are dependent parts of nature and the human body; aesthetics but who do not want to keep low, goes above all to the whole thing and pulls the parts just as those which . Well, we summarize the importance of the principle continue for the beauty of a whole landscape, the whole human form, an entire work of art in the eye, and we shall not be less than the parts, but in the same proportion expands and find increased as the whole exceeds the parts. It can only be the easiest principle to explain the simplest of examples, and we can not go on our way from the bottom in the direction that seems to be the only possible one for the way from the top. Subject So, to ascend higher in the future, we summarize only on the basis of the previous examples, the main aspects of the principle as follows. 3) a statement of principle. Every thing we deal with is, for us mentally characterized by a resultant of all memory of what we experience externally and internally with respect to each of the thing itself, and related things, heard, read, thought to have learned. Resultant of these memories are just as directly linked to the sight of the thing, as the idea of the same to the word with which it is called. Yes, the shape and color of the thing are so to say nothing as visible words which recall us all the meaning of the thing involuntarily and we must of course have this visible language just learned so well only to understand it as the language of words. We see a table, basically just a square spot, but in the quadrangular spots all what a table is needed: this makes the square patch to only one table. We see a house, but in the home all with what a house is what is going on in a home, which only makes the stain to a home. We do not see it with the sensual, but with a spiritual eye. We do not remember it all individually of what contributes to the impression, how would that be possible if everything makes both

claim to contact's consciousness. Rather, by want, it melts into the unified emotional impression which we called the spiritual color, a term which is very significant in more ways than one. We mix so much various colors together, the mix is yet again only some impression of a color, but changes according to the color components, and, applied glaze on a compact color base, again is a number of impact with it, which depends on the composition of the two. Thus, results from all different types of memories that attach themselves to the sight of a thing, but only a few impression but fails differently on the composition of various reminder ingredients and merges with the direct impression of sight again a few impressions. Now a very different overall impression may be caused by the painting with various mental paint itself in almost the same sense impressions but, with a small sensory difference is only necessary to provide the number of connecting. An orange, yellow wooden ball, brass ball, gold ball, the moon, all for the purpose only round, yellow, not very different looking patches, and yet how different the impression they make. Before the gold sphere we are with a kind of Californian respect, all palaces, coach 'and horses, servants in livery, nice trips seem to develop it, and the wooden ball seems as only the rumbling, and what a high ideality is in the moon! Now lead to the differentiation of these things do sometimes the small differences that we see in them, some of the different circumstances in which they occur. An orange can not be in the sky and the moon are not looking at a sales table. Lacks such distinguishing marks, as well as on various aesthetic impression is lacking, and can make the pleasing impression of the real thing, but the same disappears when we become aware of the falsity spurious. According to now, when we like it or dislike, what we remember about one thing, also carries the memory of a moment of pleasure or displeasure to the aesthetic impression of the matter at what other moments in the memory and the direct impression of the thing conformity or conflict may occur, resulting in the most varied aesthetic flow conditions, which we have found several times had occasion to see and even further to respond. The strongest and most common effects that we learn of a matter in connection with a matter and comparatively a matter of course also leave memories that intervene most effectively in the associated impression. Memories, taken separately, of course always remain relatively weak against, what they remember, but make many memories together by a direct impression, add up the fact compose the associated impression can be very strong and full of content. All of which does not remember the orange and how interesting is what she remembers from their mere form and color. Will experience very often made in the same sense, then the associated impression that it accumulates in the spirit, the direct even finally overgrown far, whereas in cases where the experience change very vague and often contradictory, the associated impression vague and weak remains by opposites in moderating or raises, then where the direct factor as the major determinant of the impression remains. How much of that excess weight of the associate can go beyond the direct effect of circumstances may teach us a common example. If you hold a finger in twice the distance from the eyes, it is felt, even just as great to see him, and yet his image in the eyes is only half the size and a newly operated born blind, he can appear only half as

large. The water flowing out of our whole life experience and knowledge that he remains the same at any distance, the sensuous appearance of his inequality drowned quite, that we believe him to see himself with the eyes at all distances equal. However, the distances exceed our common experience circle, the objects appear to us really depending on the distance is reduced, then the sun and moon in the amount and the items of high mountains down. Is it to be wondered hereafter, if we keep the complacency resulting from early experiences of many things for her sensual appearance thing, the thing is rather our mental ingredient. Is so much to give to the associates on the previous impression, but one must take care not to give too much for him, to which one might be tempted him, after having once recognized its importance. Let us then all tethered memories it be nice not let us on the orange instead of the beautiful golden yellow, a gray nondescript color, instead of the pure rounding a crooked krpplige form, seem alluring: the direct impression has to be right and we are him this future explicitly true. But therefore it is again not give too little attention to the associated impression. The comparison of the orange with the wooden ball, a red cheek with the red nose denied it. Neither the direct nor the associated impression afford them much to recommend them, but they do a lot in connection, give to the auxiliary principle a greater than merely summing elles product of pleasure, and this success of the auxiliary principle is repeated wherever direct and associated impression meet the same direction, therefore also the cause is repeated often come back to it. 4) association by similarity. Since similar, akin change hand reminiscent of each other, then the associated impression thereby transmits easily from one to Andre, and if we scratch opposes an object, even hanging the whole associated impression on such a transfer, however, the case of objects with their own meaning we are very familiar with the life, the influence of the transmitted associations against the specially adhering very recedes. Also, from different sides transmitted associations are canceled or interfere in the main, and thereby specifically adhering leave the field. As came to Leipzig for the first time a llama, everyone saw the same thing with pleasure, despite no one before had seen such an animal alive. Why? Because his feet were reminiscent of everything Slim, Light, regulation, his eyes on everything Gentle, Pious, his hair at all Ordinary, neat, Abundant, Warm. The yellow wooden ball but that does not transmit their impression of dryness, mechanical development, etc on the orange because we are with their other crafted nature familiar enough through life, also make all round yellow body claim to transfer their associations on the orange with, but that of this or that side do not match those of the wooden ball. Rather than unilateral predominance but also a dispute of its own powers and associations in impressions may assert in which the victory is still volatile. Take, for example, an artificial flower. The similarity with the real flower it can appear as a living thing, and all the associations of the real flower would be transferred to it, but the associative sense, but rather that it was artificially made, those associations can

not really come into its own, without them not to ban can. This is a dispute that everyone feels, even if he does not answer him. In a way, we are looking forward to the artificiality, as everyone probably successful imitation, the more so as something pleasing to be mimicked by in some way but is the good pleasure of what we would have in a natural flower, reduced by the fact that we are the artificial but can not imagine the real benefits of the natural. 5) Additional association. The association can not just imagine, but also add all the additional pieces and this must depend on conditions much more often than the direct impression that something seems to us together, or not match. It is in a picture book, the figure of an animal, such as dog, if half-hidden, so that only the head or body is visible, then the associative imagination attach to the head of the dog is its body, or the body in addition the head, with more or less certainty, according as more or less familiar with the breed in question from experience or other illustrations, except that the addition is associative but never reach the directly visible part in the determination. Will now the hidden part revealed, he will us to the saw before, and this seems to fit that or not fit, according as it within the limits of certainty that they just now, equal to or contradicts our association idea and from this can emerge a sense of satisfaction or non-satisfaction of the principle of unanimity, which is able to achieve a considerable strength under certain circumstances. But now that shows here between two parts, one of which from the outset there is an open, the second later this intuition is opened, also occurs when both are present from the outset open. Everyone makes association as certain demands on the other, depending on their satisfaction or dissatisfaction we feel the agreement or of contradiction, and it is essential to any beautiful works that nowhere such conflicting claims do, ie each part by the totality the remaining awakened associative satisfy demands, however it against some part of good taste, to be formed to make only associative claims that it is also really pretty to make. Each style calls from general aesthetic and constructive consideration a certain internal consistency, and it can be a part of the fact that he comes out of this consequence, earn the displeasure of the connoisseur, but is itself without knowledge of the requirements of this consequence, and even without any real infringement of such Any part which strayed from a style to another, which he is not at home, without further displeased by the associative demands, which makes the overall style of the building to each of its parts claims are contradicted by it. Also one has the right to reject the like, even if it were not reprehensible in itself, because the associative requirement once justified by a very general fact, one has to bear this fact into account. But why, one may ask, well not displease us a sphinx, a Centaur, an angel with wings, pure compositions in which parts are assembled, are not found together in nature, that is not in because of our experience can call our imagination associative. But what nature has never joined, the art has done so often that it finally seems to fit well together, though only just in the art, however, it would give us the

nature of horror. And even comes easy but the demand of the associative nature of the art in such representations in conflict. So witty illustrations of Reynard the Fox may be looking with half-human half-animal and behabenden figures, and so much like us they like from other points of view, something disturbing fact remains. One wonders but further: how could any art come forward to form hybrid figures whose sight had insulted in from the front, so the answer is that they never would it come when they enter from the front in the service of beauty confessed that they now taken as a subservient serf slave, but instead it has from the outset been in the service of religion, and their initially clumsy and outrageous ideas not know another way than in accordance clumsy and monstrous formations. Now we are long these ideas out, but still seems to us the head to the body of the Sphinx to fit so tightly that habit has merged both associative. 6) Temporal association. Intellect and emotion judgments. If two people look at a building whose roof rests on weak supports, so it can meet that the One his mind, the other says his feeling that they will break, and then pronounce both the same displeasing judgment on this design. The difference between the two ends but judgment is that those are the one's conscious experiences or rules on the carrying capacity of the columns, which give his judgment, not this. But you will probably admit that it was also this not innate to see a column if it has capacity enough for their load, ie, that this fast reticle but a result of previous experiences is what makes directly invoked at the sight of the building. - If someone sees a child to bend over as far to the front that the focus is no longer supported, so he jumps too quickly, because a reflection timeless feel it immediately says that the child will fall. Again, you will probably admit that a silent mediation is through earlier experiences basically, if you take into account that even the child himself - and previously it was but a child - not even the feeling as his own must lay emphasis to remain upright. Only through practice it is behind it. So that's what we call this feeling only one thing, in fact mediated by previous experience, fast Association, which at the idea of the expected breakage of the column to the idea of excessive thinness, the idea of the expected case the presentation of the current crouch ties. The individual experiences have faded from our memory, their result in associative feeling has remained. So not only spatial and temporal relationships can be reflected in the presentation and thereby involuntary expectations of the future arise, the extent play a role in the aesthetics than the pleasure or displeasure content of the sequence thus can be transmitted immediately to the impression of the cause. Respect, one generally a difference between intellect and feeling then makes judgments that one is conscious at first of the grounds of the judgment, not in the latter, you can see from previous volume, such as feeling judgments can be mediated by association at all. In this case, however, there may be varying degrees of clarity. Generally spoken displease us too thin columns. The A but do not even know from which aspects they displease him, it simply associate the sight displeasing moments, and without that he be able to separate these moments and to clarify, he can

pronounce their result in a rejection of judgments, and the other white, they displease him because they threaten Breaking, the third party also knows why they threaten breakage. In the first of the mind comes all the way back against the feeling, the third party feeling to the mind is to say quite transparent. Often offers us the experience circumstances that are not essential to each other, but often constitute connect with each other - in the place of experience, but can also occur probably more frequent and forceful policy - the result is a false association and hereby a false sense, it ties thereby together in the spirit, which is not linked in the nature of things, and then we put emotion as the meanings in things that they have not, which can give us something like what should displease displeased and what should like. 7) associative character of simple colors, shapes, materials. Not just around the concrete objects and sensual qualities, descriptive ratios, such as colors, shapes, materials, comes to an associative with the direct impression that the entirety of the items to which the property is found depends on the ratio, and there is transferable to other objects. Now also carries this impression is not anywhere to be an aesthetic character, so he can say in andersher derived aesthetic impressions characteristic, and therefore deserves to be considered with the aesthetics. Now, where, how often, the same property on objects of various kinds, in various relationships occurs, may not have the same determination and strength of this impression, the impression of concrete objects, whose existence and activity is subject to certain conditions, but probably he can special conditions and obtain such in special modifications. Meanwhile, the associative effect itself requires those colors, forms and documents, in which the same emerges most clearly, in general, the support it through in a stroke direct impression that it is another associative memories, he should be very firm, and can in turn only a support to contribute in this sense, without being able to prevail against a determined opposition on the other side of his character. There are yellow things that are pleasing to us, as the wine, and those that are contrary to us, such as the yellow addiction, there are those of high importance and great value, like the sun, the moon, crown, gold, and those of common meaning as a sandy plain, a stubble, straw, dead leaves, clay. We encounter the yellow on clothes, on sulfur, the lemon, the canary, even in the most varied objects, in the variety of uses, how is it a very staunch associative character of the Yellow generally emerge as opposing influences neutralize each other. So only the direct impression of the yellow seems to be considered. But that will change when we go to certain modifications of the yellow and the hereafter but examples. At one part of the same, the sandy plain, the stubble, the straw, the withered arbor, the clay always meets us to a great extent, in frequent repetition, a pale, dull, lifeless yellow with the impression that we mean earthly things of lower have little of interest or even less congenial meaning before us in another part, the sun, the moon, the stars, the crown, the gold of a brilliant yellow always with the impression that we jewels of heaven or power and wealth important treasures have the earth before us.

Now talk pale matte colors powerless at all the eye has little to directly, however, are shining bright pleasing to the eye itself; associative and direct disadvantage as advantage so if both agree together. As we but the common pale yellow with the drawbacks its meaning much more often and in much greater expansion encountered as the brilliant yellow with the advantages of its importance, it is thereto at least hang with that are the yellow commonly spoken in a certain disadvantage against other colors does not apply to the same appears, 4) so that we prefer to themselves, such as C. Hermann ingeniously remarked, 5) blank yellow or white wine, yellow gold to name red to these objects are estimated from the unwelcome To avoid association. For the same reason you will not like to speak of a yellow sun, yellow stars, but only by a golden sun, golden stars.
4)

Perhaps it is also in some direct disadvantage against other colors, but I do not like this certainly decide.
5)

general plan d sth. 79th - One will ever find in this document and in the "Aesthetic Theory of Colours" author of some interest and stimulating comment on the aesthetic impression of color, even if I do not want to agree with the same everywhere.

The green one can say in general that it gives us a certain feeling for nature, nature well on the whole, green is, however, the impression of a saturated red indisputably the memory of blood and embers, preferred to that of Pink memories of the Rose share has, because these colors are not only very common, but also with besonderm claims to oppose to these items to our attention. A green room wall, a green sheet of paper give us, however, even if they have quite the color of grass or foliage, not a natural feeling, because the circumstances in which we observe the green here are in too stark contrast with the memory of the great outdoors , but you will still be able to say that a green room wall makes relatively more the impression of the natural environment as a red, yellow or blue, and this impression increases, even if the floor with green carpets occupied, the tables are draped green, because we find ourselves in similar circumstances direct, as in the area of forest and meadow green, so the memory of it arises powerful. A furnished room in a manner of my own home is my friend jokingly called the green Switzerland. No one even thinks of hot red cheek of a young girl to murder and arson, the impression of red is here backed by a too common experience for this type of occurrence, on the other hand if we see a red feather in the cap of a strong man, the latter to place just as well could be blue or white, we will be inclined rather a wild settle him as gentle sense. And so the associative character of the colors at all may change according to the co-determining circumstances. It is in this relationship with the colors as with ambiguous words. Their associative meaning must appear from the context, 6) . Only the colors are generally more ambiguous than spoken words.
6)

Again, this is already cogently noted by C. Hermann.

The Blue meets us in a very large extent on the sky, the sea and lakes when serenity is the nature, and there is no reason that the associative success should not make the impression of blue with claims of it. But also directly place the eye in a gentle manner employed by the blue, and it is here, as everywhere, where direct and associative effect go in the same sense, probably can not distinguish certainly what comes at the expense of the one and the other cause. On what is ever the issuance of colors in nature, do we not, though may speculate about natural philosophy. To use the same the part of the people, however, can be various designs find to respond to the not the place to be, except that the one or became the other way associative character is determining factors for the further use once then by no less than the character of the direct impression helps to have a use seem appropriate or inappropriate, depending on the character he agrees to use themselves or not. Through frequent use, but from this point the associative character is just more and more strengthened and increased. After this you can see the green color of garden chairs and garden tables only applies insofar as it reinforces the impression of the natural environment because they association as itself reminiscent of the natural green and prevents that other associative impressions make other colors here are submitted, provided that really the impression of complete immersion in the natural environment, so to speak, a leavening is to generate investigated. But you can reverse prefer rather to predominate leave the impression of a contrasting complement to the natural environment through the institutions of social intercourse, then you will have white preferable to the green. The Rhapsodisten which absangen the Iliad, dressed red to commemorate battles and bloodshed, of which the Iliad mainly is, but what absangen the Odyssey, sea green, to commemorate the voyages of Ulysses to sea. 7) The red cap fits the Jacobins, the red flag of the Communards not merely because red is more exciting than any other color, but also because it is reminiscent of blood and fire. And who wants to be a robber or even the Mephistopheles, which one thinks himself dwelling in the hellish glow, a water blue dress, reminiscent of the pure sky. Black and blood red or fire red are simply because the most appropriate colors. But now, after these colors are so often found really fits to it, we also have a rinaldinischen or Mephistophelean idea of such clothing, and are not idyllic shepherd looking underneath.
7)

Winkelmann, Vers customary. d allegory. Page 101

Similar considerations as to the colors can be applied to white and black, but we have that now. As for the forms I will content myself with the documents to take the opposite of convex and concave, and no subjects of the horizontal and vertical directions into account. If a convex curvature of the eye and is just across from the circumference to the

summit of the arch as traced to the rest point of the eye, then the eye must always set a nearer point, however, always be distant, if it is a concave curvature. First case, we consider the views pushed back from convex to be second if drawn into the concave without a direct reason for this is because, for the eye not really move backward and forward, so must bulge to consider a nearer point more flatten to seeing a more distant, so far the convex convex accommodate itself rather than back away from him. and accordingly, only in reverse when concaves. But now we see the Convex everywhere only push back, repel, exclude, include the Concave in to receive, and then an associative sense of it not only contributes to each new saw convex and concave on the subject, but even planted itself upon the eye itself . In fact, the hump is to bend the blow contrary, he wants to fight by themselves, the chest of the proud arching all, contrary to what she wants to think of themselves, the fist clenches against the enemy to scare him and strike back, the horses stand in a circle to ward off wolves, the bridge arches over the river to repel the foregoing it from him, the bomb ball rolls down from the vault of the cathedral, the rain trickling down from the convex umbrellas. Against this, a hollow made hand, a hollow vessel, a bag of nothing want to record as something in itself, and the hollow flower takes the sunbeam and dewdrops into itself, a pit may want nothing to ward of itself, it falls into, if not a railing with its convexity so it resists, who sees through an open door into the cavity of a house, finds in it go in an invitation, and if he sees nothing but the cavity around, as he is in it, so long as only its convexity facing him is he outside, he is excluded from the home. From a thousand experiences of this kind, the impression of the convex and concave collects, and can, depending on it for each Foderung the exclusion or self picking up, which is raised from andersher, right, carry a pleasing character or displeased. The view into the high heavens or a high vaulted church up carrying the first character, the soul feels so to say with the looks with pulled up. Should think you look at the sky or the ceiling in the opposite direction arched, the impression would be a rather depressing to be there, as if they wanted to push the people into the ground. Thereafter, it makes no good effect when in Volksfestlichkeiten sometimes garlands across drawn from one house to opposite home across the street and bulbous looks down against the heads of the underlying go away ends hanging down, whereas it would look equally bad, if the semi-circular floral festoons which tend to be appropriate at such times under the windows, but were concave towards the road as against the window, because you will not. related to the people on the street but the windows and thinks it leaning out If a chair is to bend forward, our backs will turn their backs, so this is not only impractical, but also looks bad, whereas a weak concavity forward into it pleases down an invitation to us. A sign on the other hand you do not want the enemy to be faced on the page look different than convex, you want to see him by his defensive same property. Although upholstered chairs, sofa's, pillow seem so welcoming, we immerse oneself in it, the swelling, so they are convex. But here is the associative character of the convex, which accumulates in most cases and thus to most case again applies outbid by ausnahmsweisen character soft elastic body, which we view a concavity not, but push yourself, and after repeated experience us taught that we are so

comfortable rest in this concavity, convexity of an ever larger it grows up. The horizontal position and the vertical stand anlangend, so it is familiar to us, and is easier for us to reciprocate than to follow a horizontal line through the eyes of a vertical ascending and descending, and already the newborn child will prefer than look up and look down. So does the Vertical been the direct impressions more power consuming than the horizontal, and the character of the associative impression hereby agrees completely together. In fact, the horizontal position meets us at the sleeping and dead people, past the tree trunk and the fallen column, the calm water surface, the plane's going on easily. In general, anything that wants to rest, lies down, and only the horizontal places you look, while the man, the tree, the pillar, standing upright, still to resist the severity of their balance, have to defend against the same; the wave takes strength to rise and it takes strength to climb a mountain. All of this interacts with the direct impression then to give the horizontal extent of the proportionate impression of calm, the vertical elevation of the powerful impression endeavor. On columns accordingly contributes very significantly to the Cannelierung to support the impression of Aufstrebens, he repeats at every ridge, whereas it would seem absurd to them. Rings or with horizontal grooves for vice-tion, however, they must rest on horizontal pads What did I not say that this is the only motive of Cannelierung, but he shall direct the complacency that is the uniform of the Cannelren relationship among themselves and with the eye-catching boundary lines of the column to help. A landscape in which many horizontal lines, for example in the mountain ranges, the river banks, the paragraphs of the various pros and backgrounds against each other, wide low-rise buildings, etc. occur, appears to us in a quieter character, as such, which in their crags, towering trees individually, high buildings and towers presents many vertical lines. Burke once remarked: "comprehends extension length, height and depth among themselves Among these, the length does hundred cubits, the smallest effect on level ground will not make much of an impression as far as a hundred cubits high tower, rock or mountain I... also believe that the amount seems less great than the depth, and that we are more moved when we descended into a chasm,. than when we look up at an equal height " Why all this? - The horizontal extent we have to think of any difficulty of ascent as the vertical height and the Up Looking at a vertical height of no horror of dizziness and falling like the descent Look at the vertical depth. 8) Man vonAssoziationen as the center. Involves the nature of certain moods and emotions as intellectual and moral qualities of man certain, always in the same or similar manner has established recurring physical expressions in tone, expression, gestures, position, movement, and man with himself and his peers not only the most upside, but also has the greatest interest in this traffic, it is in the nature of things that associative memories must play an important role in the overall association areas to such expressions. Every form, every sound, every movement, every position so that the natural expression of human sentiment, passion, intellectual and moral property or statement was somehow

reflects or has reminded itself, where they encounter in the inanimate; through this memory are influenced by their impressions much. Thus, the overturning of the solid state as a tree in the wind, the parts of the clouds, etc., indisputably the impression by memories of the Human partly determined associative, and owe some plaintive sounds of nature such its impression chiefly remembered. In very attractive presentation Lotze has made this point in s dep on the concept of beauty p. 13, etc., similar to the microcosm (1st edition II 192) and argued at several points in its history. I do not deny myself, following to lead it. "The violence of the [in us] prevailing tendencies does not apply solely to the expiration of the ideas and feelings, it is also by innate need in external bodily movements, bridge the gap of the spiritual values of thought to the sensory representation is true even without. this would be simple, strict drawings in space, meaningless in itself, betrayed by the beneficial exchange of tension and relaxation, they grant the revolving eye, the first traces of an even playing beauty, but who once was broken by the pain of his own voice and the quivering tension of the links within the suppressed anger felt for it has become talking sensual intuitable, and what he himself was compelled to give externally manifested, he will suspect again under any similar Other manufac presented appearance. One may believe that most of such experiences our assessment outlines based spatial beautiful., if it is always in vain, to find a scientifically predictable condition for the beauty of such an outline, it is because because he does not act by themselves, but by memories. Anyone who has an expensive form below bow to the weight of grief in mournful weariness and fall saw the is the outline of such a tilting and flexion, the inner eye vorschwebend, the interpretation of infinite dimensional figures predict, and he will remember fruitless, as such simple features of the drawing as inner feelings could stimulate in him. In the tangles of sounds each his mind is back and looks at his movements. Hardly Failing this, not send them a predestination of our physical facility us to give by Lute our emotions that which does not itself outward expression. using the sounds and their exchange links so the memory of transitions in size and nature of the aspirations and feelings, through the driven we would make the same sounds. Indeed, even the memory of the measure and the tension biological activity in the bringing forth of the sounds teaches us in these self- and to seek in its height and depth, a hint of greater or lesser force, bolder or decreasing their endeavor. the spatial relationships of architecture, their aspiring pillars and the wide bearing loads over them would be just us half understandable if we did not possess a moving force itself and in the memory of perceived loads and resistances, the size to appreciate the value and the slumbering sense of self that forces knew who speak out in the mutual wear and worn a the building. So is the physical life, of necessity affairs by external rules express impulsive, a transition to the understanding of sensuous shapes and contours, and even the moral, initially a balance of tendencies, then a certain way the sequence of internal events conditioning one will be able to find last Related and similar in those sensuous pictures. " Although commonly makes you look not clear how much the reflected image of our own being and doing in the objective world to the impression they make on us

contributes. The poetry here, but it helps to some extent by, bring the associations of which depends on the impression of the saying of. Thus Mary sees the clouds draw, not like the meteorologist an indifferent mass extractor looks driven by the wind, but as a man walking the other, sees ships, and how they would like to move away themselves. Yes, poetry is a main advantage in the natural object, relationship, affairs almost translate into a human in order to awaken the idea of associative vigorously as possible in the shortest way. That one sees the moon through the clouds, is not so poetic hereafter in effect when he sees himself out of the clouds, the shaft has a slight changing sound, not as effective as they whisper. The black abyss is content in poems not idle to gape in front of us, but yawning at us. "There are teasing the air", "scary stir the trees," "the morning doing a red glow", etc., etc. Nevertheless, it would go too far, to which one might be tempted him back on the previous to restrict this very same origin and effect of the aesthetic principle of association. For this reason alone it is not possible, because the principle is not merely limited to similarities, rather spatial, temporal and causal relationship play an equally important role. So aesthetically very effective associations may come to pass, that have nothing to do much in the form of instinctual or arbitrary expressions of pleasure and displeasure through our own bodies, and therefore does not act through remembrance by memories of objective conditions of pleasure and pain. Thus, the associative stimulation of Anblickes the orange is not safe in a similarity of appearance with any outer expression's own moods, but the fact that the orange is an objective center of causal conditions of pleasure for us, and the sight of them carries a Erinnerungsnachklang this desire what something is all but Andres. If you want the contribution that the Froschgequak can give to our spring mood to write out that we want to express through Gequak himself; but it is not our own expression of mood, so it can not be the memory of it, whereby such reawakened is because the voice can be let out at all correspond quite opposite moods, but rather that we find objectively the frog cries in constant communication with the spring, gives him his associative value. And so will not be to say that a sword, a crown, a bridal wreath owe their aesthetic character of a memory of a sword-shaped, crown-shaped, annular expression of violence, power, love through forms or ways of moving our own body. So many cookies in front of a home, such as a tree, under which a bench and a table, speaks to us cozy, why? Because we can imagine sitting there comfortably, but not because tree, bench and table are both exempt themselves as comfortable sitting. But should nevertheless I am not inclined to admit a fundamental conformity between our own forms and shapes of the outside world that we like there, so it would not be necessary to push the pleasure in it only for associative memory of our own forms , so we would rather, for example, symmetry, and golden section can therefore fallen, because we angeborenerweise are equipped to find only complacent, which corresponds to our own forms, so to speak directly fit into the same without us just the memories of our forms to require. 9) Analysis of associated impressions. Remarks about the creative power of the imagination.

I have previously laid stress on the fact that the aesthetic Total impressions are not separate its different elements, yet has the aesthetics to give a clear account of his conclusion, divorce such, must ask: what is a matter of your own or direct impression, which depends to the associations, and what to wear this or that to this. Although, such an exhaustive analysis never be, because generally countless memories contributing to each associated impressions, yes, strictly speaking, to each of the entire Erinnerungsnachklang our lives, just with a different weights of its various moments. We hit a point of a strained tissue somewhere - but our whole conception context such tissue comparable - so shaking the whole tissue, only the points most strongly, the first are the ailing points connected by the strongest and most strained threads so. Each view but suggests even more than one point of our spiritual fabric at the same time. But you can, recognizing this interaction throughout our spiritual possessions to make any impression that the task is to find the principal moments that mainly determine the impression that study indeed quite the impression in this regard actually. More so but the aesthetic has reason to respond to the composition of the total impression of its elements, as a unified impressions are not at all describe, but can be characterized by their composition of different components, including the reason has often enough. Who wants the impression made by an orange, a gold ball, a wooden ball describe? In contrast, the same can be probably due to the ideas that have merged to characterize. But not only by those who have merged in it, but also by those who can emerge from it again, what a new and important aspect presents. In fact, all ideas that have contributed to the mental impressions, and may again emerge from it, it only requires particular external or internal events to it. The reasons for the opportunity to employ After winning general impression obligation and different, but related directions among themselves with the subject, what a second main part of the aesthetic effect of objects is that yes rests not only in her uniform total impressions. This is to say that only the seed from which a similar plant is able to unfold, than that from which it originated. At the same time those resultant of memories of the source from which derives the imagination, and as recently as often the beauty is explained by reference to the imagination, as herein should be an invitation to this source precisely to investigate, as I find that it has happened since then. Following the usual approach, one would think that the imagination an unrestricted assets due, and to make it on their own absolute power that the sight of an object. Closer but watched the impression of the associated specified substance they affect to well, but they can not create, and the circle of associative moments of space in which they can only move.Now it is indeed in the indefinite expiry and the allround concatenation of these moments the freedom of different directions and different length of leakage, as well as new combinations of the associated moments, but always be the elements which predominate in the associated impressions, the strongest express determining and directing force it. You will think easier to wealth than poverty in Orange easier to Italy or Sicily than in Lapland or Siberia, with the gold ball; yes immediately find thoughts of that kind in the sight of these objects no

cause, which does not prevent that in the broader leakage will come from the center of the association by any Vermittelungsglieder it. Rather than express a point of approach can have the imagination inside a cause for their creations, but the source from which it draws, remains the same everywhere. It's all of the lower unconscious, is fused, echo of what was ever in the consciousness, and through this or that, external or internal events, in this or that combination again can become conscious.Each associate is an impression, expressed by a rise in consciousness called, already finished special combination, which can be spun out of the imagination of laws and motives that we are not here pursue the individual and made the approach of another Fortgespinnstes. It has hereafter law, the source from which derives the imagination to look at the unconscious, just not in a primal unconscious, rather it is a source, who only had to fill in the consciousness and can be exploited only through conscious activity again . In sleep, form impressions neither associated nor ever formed some of the substances with which switches the imagination and from which it weaves. 8)
8)

If Hartmann at least want to derive the unit ingenious conceptions of the imagination of a primal unconscious, we see no reason to, because, as the whole unity of consciousness, from which it is derived, but only a matter of consciousness itself. Of course, everything is at all what man has taken uniformly in subordination to the general unity of consciousness and thought, can also be its uniform linked radical in the unconscious, which lifted back into public consciousness can add new consciousness moments to new einheitiichen creations, without having the consciousness it needs to come to the rescue with a unit from the primordial unconscious.

10) gradual training of the associated impression. The spiritual color to remind us of this expression again, which take the items for the people, of course, can develop it in the course of life on the basis of traffic. The younger and raw man is, and the less still about the spiritual brush wrought in him, the more outweighs the direct impression of things. The older and more experienced a person is, the more he things by the totality of their relationships and effects has to know, the more the mental image of it to begin to predominate. An adult who sees the stormy sea for the first time is, but feel the grandeur of the spectacle quite different, as a child, what ever sees for the first time, because that can interpret the new visual impression of old, this is not. Letztres feels nothing but a Wallen and waves on the Colors panel of his eye, what it can wonder just stupid, that violence, danger, fear, shipwreck depends on it, it can not know, as that, and if in that of the impression by a ship, which is just swallowed up by the raging seas culminate, as in this is the idea of self devoured by the impressions of the sea. One born blind who is just now operates happy that orange is no other impression

to make than the yellow wooden ball, the red hand and nose appear equally pleasing than the red cheek, if the redness is just the same pure and lively, a kaleidoscopic character but is he found more beautiful than the most beautiful painting, probably more beautiful than the most beautiful face, although one can ask if something can not replace instinct of the association, what future (Section XII). Pressing the Previous probably like this that we need to understand the forms only to get the right impression of it, and why it does not say so, but one must understand this understanding learning itself right, which is not the case if one thinks , as many seem to think that the objects reveal their meaning to the viewer by himself, he wofern quite engrossed only in the consideration. Rather, as I said, does the meaning of the forms to be as good as the learning of words, and is familiar to us only in the same way, that is the way of the association. But the basic meaning of words and forms, as their daily recurring chaining modes only common, one can certainly understand long sentences and whole works of art and then interpret. In this respect, the different peoples, nations and times offer things under different circumstances, so does the associated impression for them a different character, which one of the principal reasons for their taste differences is. This will be discussed later. 11) The principle of higher use. Previous contains the most common, mostly erluterbaren already in the simplest examples, aspects of the principle. The same but remain valid if we now raise us to higher and related sedate examples from nature and art; thus only occur ratios of what composed, into play. Just as an object unfolds before us, the parts are indistinguishable from each other, but that their associative meanings, impressions, and enter into relationships with each other, relationships with each other, which blend into a unit results, may enter therein, without distinguishing the individual contributions goes in it. What can not be distinguished in the contemplation of a man, eyes, mouth, the whole head, chest, abdomen, limbs, each part has its associative meaning for themselves, thus making its different impression, but also the whole man has such and such makes what is the significance of each part and the impression is not lost, but he arrives worein in order to complete an overall impression of the individual moments can emerge again. Just about now the direct impressions not only can itself be pleasing or displeasing, but also pleasing and displeasing relationships come to each other, it is of the associates and the consequent triggering individual performances, and as the direct impressions at least as long as we in the areas we maintain the visibility, remain poor and low against the associated, so it can be very generally been overlooked as much of the art owes its richness and level of Assoziationzu. To a somewhat more detailed discussion in this respect like us in the following sections of the scenic impression of still relatively low altitude provide an example. In the architecture, we are of the same aspects in later sections (XV XVI) come to speak. Visible as the finest work of creation at all but does us the human

form. The highest works of visual art have the object or essential elements. Now is not disputed in the river of forms and bilateral symmetry, perhaps (subject still closer consideration) the simple proportions, as some want, or certain rhythmic ratios as Andre want, or the golden section as Zeising will also probably in some instinctive Much of what may, at the individual shape, apart from all tethered meaning, like us already, why come when all the paintings nor the conditions of grouping and color hand signals, which probably can make something of harmonious and disharmonious relationships to be asserted. But that's just the lower pad for himself ATTACHING expression of the suitability of the human form to the shops and pleasures of life, and the even higher expression of the soul and the soul moves what all we can already see the individual shape, and finally for the more general and higher human, yes society from the human-reaching relationships that we can see the whole painting. But everything that we carry only seen in the forms and combinations of colors in, according to the experience of the importance of the same, we have made, all that is for the associates, not the direct impression. In the realm of the visible is not at all aesthetic impression of some relevance to the height and strength at the same time without association to pass. The most substantial, what it brings besides this kingdom is the kaleidoscopic character and the fireworks. Only the auxiliary principle gives the direct impression composition associated with multiple major importance in this field. Returns to the beautiful paintings around so the internal conditions remain the same, of which the direct effect depends, still the same, but the pleasure in listening to, because the associations, which only give greater importance to the image adhere only to the upright position and it would be because that one is able, zurckzukonstruieren the upright position in the idea of the reverse. As colorful a picture like the sensual eye appear in a completely different way colorful it appears by his associations; herein is the mind only the higher stimulus, and is the single link of the whole to seek and find. Even the poetry culminates in associative factor, because the meaning of the poem is to build on the words, and verse, rhythm, rhyme gain significant importance only according as they enter herein, which does not prevent it but after the auxiliary Prinzipe much to the strength contribute to the aesthetic impression. But you would be wrong to try to find an equally vast importance of the associative factor in all the arts. Rather, the music is in this regard the visual arts such as poetry over by in their rather direct factor, the main role of associative only a minor role as discussed in Section XIII to discuss, it is just very much, not all of the associative lay factor. In striving to establish uniform principles, you multiply the main impression of the painting in the same sense to say of the auffabaren directly so want to make musical impression of his shapes and colors depending on when the music itself of the relationship between sounds and between audio connections, but the Painting is in this respect more akin to poetry than music, although not comparable in all respects, after coming into this section with some considerations. Conversely, you also want to reduce the main impression on the music association hereby but what distinguishes

the music of painting repealed only by the opposite side. To be sure, the pursuit, just to tell all the arts it is to reconcile, but it misses the point of unity, if you look him where rather is the distinctive. All fine arts have this in common, sensual means to combine so that it grows more than mere sensual pleasure. Here is the point of unity. This success can be just as predominantly through relationships between direct impressions are as made between associated impressions and it is triggering ideas, therein lies one of the most distinctive aspects of different arts, the one certainly can not come, if the associated impressions themselves not clear from direct different. If there are aestheticians, who deny the associative factor in a significant proportion of the beauty at all, claiming that its effect is subtracted from the effect of an object to have its beauty pure, so this is just a doctrinal separation from which the living effect of beauty and vivid term use does not know anything. They confuse the distinctness of the two factors of beauty with a to be made by the beauty of withdrawals, and leave to say of all the beauty of visible objects as only the skeleton left by the clothing of the same with living flesh only by the associations happens. In fact, what after all association is left of the Sistine Madonna, is a colorful color panel, which it does every carpet sample to complacency before, because in this we've also got the direct appeal of color harmony and symmetry, which in that picture is sacrificed to give them space to the lofty expectations and uniform attachment link. If you wanted to calculate this is not the beauty of the image, so you do get a concept of beauty that is well, just not to take in any system in life, and hereby makes the system unusable even for life. Although indisputably Some of associations is really immaterial to the beauty secrete as visible objects, but these are only associations that are too random to pay with; secrete All of it is even with the beauty secrete. Of course, you want to make a significant contribution to the Association of beauty just from the point of denying that it would thereafter at all depend on random, with different people very differently formative, indeed changing in the same man may, if something nice for beautiful or not to explain. But the most important associations are also commonly forced upon the people by the general nature of the human, earthly and cosmic situation, whereby, for example, no one with the strength and health, no expression of the quality or intellectual endowments of the expression of frailty with the can confuse malice or stupidity, and what the changing of individuality, time, place associations concerned, which have a share in the development of the different taste of different individuals, peoples, times, they are just much more determinative of the fact, but not for the authorization of taste, and the concept of true beauty in the earlier (Section II) has the meaning given not to follow them further than that individual differences are even entitled, but what they are really up to certain limits, and thus the different modulations of beauty give room, using only has to be considered as truly as objectively beautiful, what have immediate pleasure, is prosperous on the whole in consideration of all the consequences and contexts, and because the participation of the associations can not

be excluded. As noted input, mainly contributes Kant blame the widespread view that the associative factor only a minor ingredient to the impression of pure or in Kant's term "free" beauty is, for which ingredient it has the word "pendant" beauty, but this writes He no real aesthetic importance. He measures now the tethered to a nature or art work purposes a value from other considerations in, he misses but just so that a main aspect of the beauty that he that contributes to the be tied sense to substantially exclude from her. Herbart (total stations II, p 106) does not go so far as Kant, by the effect of the socalled apperception of it (recording of an impression in the previous presentation of the same stimulus Nexus and thereby), which is not separable from association with commands the appreciation of a work of art only in so far as to leave aside, "as they are not considered conditionally essential" without making it clear what he called "essential" count as. From the way he described some examples reveals, however, that, instead of seeking a major factor in aesthetic impression of works of art in associative memories, just not quite expendable, but zurckzuweisendes possible auxiliary element examined it, and the emphasis on the direct factor (the so-called perception) sets. Well of course really is the music the emphasis on the direct factor as to continue to discuss, Herbart, but mixed examples from the visual arts, where it is rather based on the associative, and from the music here in a manner which shows that he the big difference is the order in this respect between the two arts is quite escaped. Besides, it already Lotze (d Gesch. Ae. 229) Herbart has fought against the underestimation of associative moment. The most common reason to reduce the significance of the associations for the beauty of visible objects, is always the one that is expected to effect their form itself, which is added by associations only; otherwise would not be possible, their importance to misunderstand the way it happens. That depends on the force with which makes the direct impression of originality, clarity and certainty claims and the very gradual, but always fixed and intimate, most recently becoming inextricably merger of associative so. Vischer says so in s critical passages (p. 137), and similarly I think that they otherwise met, "Actually, beauty is in the appearance does not mean the form, they will not want to express himself as a lion does not. the generosity, he is just a lion, and the contents of its forms simply the visual force of nature in this kind of design with these external and internal characteristics ". But the form and strength in themselves are very different things, a form can probably remember that it is produced by a force generated by similar forms seen by it, but not in itself have the power to content, so it is in the Indeed, only the associative power, namely the lion not only that which has made him, but also, and even more that he is able to exert themselves, after appropriate experiences. In fact, prior experiences include both interpretation and the form can not interpret them by themselves in this sense, it is believed rather just watch out what one looks. Common ground can indeed something hanging from the strong impression of the

form of a lion, too, that you even need more living force to draw the square outline of a lion, as the rounded of a pig with the eyes, which will require no memory, but hung on the main thing This direct impressions, so we would have the equally square cow just as strong, and appear arbitrary angular lines drawn even more powerful force than lions. So the direct effect of the form of a lion might not be indifferent to the impression of vigor, but would not the speech without the help of powerful associative values have effect. A lion that does not mean the magnanimity, is admitting. There is a lack of experience, which have allowed us to establish magnanimity similar shapes, so we can not represent associative form of a lion and the such. 12) Some general considerations. If the pleasure in things based on much with the memory of pleasing to, it is of course in itself. it also must be pleasing to itself, hence the association may apply to the direct sources told only as a secondary source of pleasure. Here, however, it was not considered to visit this direct sources, but just, to show that among the various sources of pleasure at all the secondary of the association plays a key roles by, inflows from all sources that are original Herself receiving in themselves. Each direct and associative effect depends both on the nature of the object, which makes the impression and the inner (physical and mental) means the individual, in which the impression is made, short of an objective and subjective factor. Directly but is the impression of an object, insofar as it depends subjektiverseits developed by congenital or only by attention and practice in dealing with objects of the same type and refined interior furnishings, associative, so far as it depends on a device which is caused by the fact that the subject has repeatedly presented in connection and relationship with other objects given type. Apart from direct and associative impressions can speak of combinatorial, but they can always be resolved into direct and associative, so they are not really coordinated. Each house makes for itself a direct impression by its shape and color, an associative if it appears to us as a living space for people, a combinatorial according to the conditions of its environment, but this is right, if the current shape and color of the house in relationship to the current enters the environment, associative, associative insofar as the ideas of the habitability of the house by associative ideas which gives the environment suffer influence. The difference between direct and associated impressions should not be considered the differences between lower and higher impressions than coincidental, since rather distinguish the direct impressions even in lower and higher, and can rise to a height at least in the field of music, while some associated impression may be very low, as in that example (above), where the fingering is linked to a lively sense of their well supply the taste, or a certain word, the idea of a simple thing. To gain clarity about the nature and mode of origin of aesthetic impressions, is now above all important, the difference between the direct and associative factor to make them at all, and on several occasions has noted that this does not happen easily, as it

should happen. In general, the performance of both factors is more or less thrown together, and especially that of the associative factor very common in the direct with the calculation, from the other side but also probably the effect of the direct and the associative with Starting or against disappearing or it can be returned considered, because so little of today's aesthetic is also familiar to the principle of association, but it's so familiar to her speak of its success. Both but not only has profound ambiguities and oblique views of themselves, it has also given two-sided basic views concerning the conclusion of the origin of beauty, so far doing a sole or exaggerated emphasis on one or the other factor. In one-sided account or untriftiger presumption of direct factor namely, one can imagine that pleasing shape and color ratios, ie those which, ever fallen ruthlessly been tied meaning, purpose, conception without the participation of the Association, the impression of their complacency, on to the items at which they occur, render, so to speak, with her own beauty borrow and thus make you beautiful, but secondly you can, in one-sided account or untriftiger presumption of associative factor to think also that, conversely, the beauty that we and the forms conditions enclose some items in it is that the value of our congenial importance of us pleasing purpose, the performance of a conceptual or ideological Foderung, we set the objects to the same transfers to the outward forms and conditions in watching the same association as, and hereby they can appear as a beautiful expression of this meaning, as a sign of accomplishment. Of two views does in fact in aesthetic and artistic considerations, now one now another claim with relative overweights, although it is not easy to face each other with full vigor, as no relation to the other allows a clean implementation. Therefore, you fluctuates mostly between two rather uncertain or confused between the two, without bringing it to a level of clarity about their relationship. Now that we have tried in the incumbent members, to give the associative factor may be right, we want to look for in a late sections (XIII) to be the direct limit, but before some issue's, which are more closely related to the associative factor treat. X. Explanation of the scenic impression through the principle of association. Let us try to give an account of the impression which makes the view of a landscape on us! There is something ineffable fact something which can be exhausted by any description.How can you explain the nature and the reasons of impression? Here, in order to give an example of the different way in which the aesthetics of the top and the aesthetics of the bottom at all proceed in its observations, I present a statement thereof to the two facing each other, the one in the first way, drawn from one of the most appreciated newer textbooks the aesthetics of the Carriere, the others as it results in the second way, due to the principle discussed in the previous section. That the fernliegendste structure linked to the highest most ideal aspects of explanation, this is the closest structure linked to the lowest point of declaration. "The essence of nature - says Carriere (I. 243) - corresponds to the beauty, because it is a manifestation of the spirit, which they in sensible forms is ideal salary and

illustrates spiritual laws, and that's what pleased us so intimately, if in the external things and material things a related soulful the mind comes to meet, but is everywhere first the own life of life purpose, every being is there and not created for its own sake, so that his figure have joy us,., it is a favor of fate, when in the totality of the universe, us just as is the interrelationship of things that way as they are for each other for our position is that we on which we offered surface but perceive and recognize the inner nature, such as the forms of things not only to the purposes of the universe, but also the conditions and requirements of our personality are under. Yeah we like especially the goodness and glory of the first cause of the world have praised it, when substances which, for the life of the organism, especially of plants appear indifferent or are excreted from him by scent or color gloss refresh as essential oils or pigments us "etc And to also show how the analysis of the individual enters into this general consideration, so (p. 258) is said by the plant as an element of the landscape: "The powers of inorganic nature found in the plant a center of the meeting by here appears an individual idea as biological formative life force and an organism operates in the fast re-education, which is related by the roots with earth, but up aims to air and light and with branches and leaves spread on the side. The plant illustrates the concept of organic creation that what we called earlier for the beauty, the diversity of leaves and twigs rings out from the unit out and be seen worn by her, and the interaction the individual figures joins together into a harmonious whole. " Against the momentum of viewing our consideration of the bottom now has no equivalent course use. Take the following as simple as they are themselves. The eye of the man born blind, who sees for the first time after surgery happier outside, the whole nature appears only only as a marble sheet, for he can not, be seen in the seen its importance with. He's looking into distance: there are meadows, fields, forests, mountains, lakes, and he sees nothing of meadows, fields, forests, mountains, lakes, and he sees only green, yellow, bright and dark spots. Only the feeling of farreaching glance, or the sensual little about the rising up sensual allure of the Bright and Dark, the contrast of colors, the variety, the change to determine the impact he has on the landscape. But is that also all we have of the landscape? We have all this too, it adds to the impression which makes the landscape for us, the mood that it gives us, not even a little help, but we also see in the distant woods, who for the inexperienced eye only a green spot is something that drives alive and growing in what shade, cooling is where the hare, run the deer, the hunter goes, the birds sing many a haunting tale, even if we do not really see it and hear it. In the lake, That which recognizes only a bare or bruise, we know the waves go, reflects the sky, play the fish, the ships sail etc ideas of everything, what else drives and grows and sways, with sound to it.Basically we see with the eye's biological forest and lake no more than the freshly operated blind and the newborn child that is green and bare or bruised; But everything we've ever seen of forest and lake, heard, read, learn have thought, like everything, so they provide a point of comparison contributes to the impression in the making that item to us, and makes their vision turn into something

unspeakably Mean Derem, richer, livelier, for the feeling Vertiefterem, for the imagination Produktiverem, as for the one who saw nothing of it, heard, thought. And as it is with forest and lake, it is with all the elements of the landscape, meadow, field, mountain, house. All of fond memories, comparing ideas, making these items be of some importance to us, socialize, and also their compilation wins for us such in the same way. All these memories and ideas now makes in fusion with the sensible foundation and the immanent conditions as overall impression of the landscape contends, every detail of the landscape plays from another site with a different circle of memories and ideas into it, and what into play so may play out again. After this is easy to understand where the ineffable, inexhaustible, Unklrbare is what the scenic impressions belongs. Who wants to follow old ideas, exhausted, clarify who have contributed to this? Even the single object comes to a certain inexhaustible in this regard, the landscape offers us a way to say such inexhaustible inexhaustible objects, which fall in love with their association circles indeterminate branch. But we can also draw the main elements into account and thereby characterize the impression, at least to a certain extent, clarify and explain what an example below. Now it turns perhaps against the previous observation that after that, who lived between mountain and lake, so some experience it, would incur a richer feeling of seeing a mountain and lake scenery of it than those who for the first time come to what but the opposite is the case. Especially the one who has never seen a lake, a mountain, is taken at the first sight the most. But that depends so together. Everyone knows but after previous experiences, what and what is a pond, a hill. It now occurs with the association of the first time the incalculable become ponds, the insurmountable become hills, so is reason to extend his earlier more limited association circle quantitatively, if even one of the most effective excitation and recovery means his feeling, whereas in the one who always lives between lake and mountains, this enzyme is missing, which makes the lump anknpfbarer ideas for powerful and vibrant emotions rise. His feeling is, in short, blunted, as it is also found in each blunted after long trips through beautiful areas. This does not mean that the one who is used to living in a nice area, like to take the less to be content with a poor. What does this new supervening element of magnification beyond the usual, can do in other cases, a new element or else another way combination of the same elements. But the man had nothing in it of his previous life here, what he could stretch the sight of a new landscape or use in any other combination, as would any landscape it can no longer provide, as a large, irregularly painted with colors of carpet, the are spread out before him. While some can not afford the carpet, but also not painted, but just may make a real landscape. Maybe it was when I, the feeling of looking into the distance gaze held mention the circumstances which come into consideration in the direct impression of the landscape. In fact, however, is across the exertion of the eye for near vision, the breadth of view a kind of sensual recreation or refreshment of the eye, which, supported by the soft impression of color, most claims when looking into a clear sky into making but not lacking even in earthly distance vision, the way may be like mine

significant for the faint, slightly strained, eye, than for strong. As little as they like now to be mean aesthetically, it still comes after the aesthetic assistance with principles of total effect of the real landscape over the carpet as the painted landscape, which is to say a board in front of our head, certainly more stead, as you want to be close to the action. Do we want but do not write everything on association. But it also suggests the direct effect this most directly in an associative off by itself associated with the breadth of view of the landscape, the idea of the size of distant objects contained in it, what a lot depends. Only on a big lake can navigate you really, just a big mountain required to be lifted much telluric force, and requires much human effort to be climbed. In the small painted landscape, such associations can only make weakened contends, they shrink so to speak, with the reduction of the image, because even though the little painted lake and mountains reminiscent of the great and without this memory his impression would all lose, so contradicts but the direct visualization of the sense of the size requirement. Because the image of the distant lake and mountain in the eye may indeed not be greater than that of the painted landscape in the immediate vicinity before us, but we need the eye there up to distance vision, here on the near vision, and thus is associated with the impression that those larger than this, and therefore the most faithful of landscape painting, the desire to see the real countryside, in a sense increases almost more gratified than by artificial substitutes, such as the Corresponding with small models of large buildings is the case. Which does not exclude that a landscape painted it for other relationships do a real before. The artist can compose namely the associations cheaper than it is wont to do, nature itself, by composing the starting points of the associations accordingly, but we do not pursue further here. Since we can not go into all elements of the landscape in the specifics touring, we even look us an account of the impression of a main element to indicate that one should not consider a scenic element without regard to the principle of association, however, follow the same its important scenic value easily explained. It will probably have noticed how each stimulus can win an otherwise seemingly insignificant landscape by human structures. Many prospects of small mountains owe their appeal essentially only the Hinblicke a village in the foreground of an otherwise rather empty area, other prospects is a castle or a ruin on a height the lovely Pointe, others are here and there scattered cottages or farmhouses gracefully; many a green valley owes its scenic interest only in the nesting mill with the rotten bridges, which leads over the water. Think away the works of man from such places, often called, can be left out of the lovely countryside just indifferent country. Now the works of nature appear to be so alien after origin, color, shape and addition that could be likely to believe that they must act in the disturbing impression of the landscape.Made by human hands, determined to external purposes, they come out with straight, sharp rectangular boundary of the free form play of the creative force of nature, and set their white walls, red roofs of the green and the pale ground and rock colors opposite. Now, although the appeal of a thing, by variety, be increased, but not by prinziplos motley variety, which otherwise is rather only the impression miflliger disorder, fragmentation, dispersion, why not here? A variety

of ideological immanent principle, how does such reckless on the importance of symmetry more pleasing than the asymmetry is certainly not to be found in the compilation of the buildings with human nature. And if some give much of a rhythm as the main condition of beauty, thus interrupting a building rather the rhythm, which is the free formative own nature, as it is inserted into it. So what finally remains to explain the stimulus, the buildings in the landscape inflict left? Only the meaning remains, which we build on the human structures. The buildings are human products, centers, points of human activity, human habitations sorrows and joys. The memory of it weaves itself into associations, which in turn causes the natural environment, a powerful and increases the importance of their content. Stands now though nature and human life and activity abruptly against each other, it could also remain the impression of only two disjointed or interfere mutually. Against this we find the human life and activities through the buildings themselves grown into the nature and radiating from there, but this way the single linkage, which lacks the impression of form in itself, an extremely wide variety gives back to nature. Any other type of buildings, any other way, as they connect gregarious or scattered in freedom, plays with other types of performances from the hustle and bustle of the residents in the impression of the landscape in, and a snack at home, the support of a, vivid with their effects related in any circumstances, be effective. Thus, the smoke rising from the roof of a cottage, a little light that flashes from a window, landscape inflict a significant stimulus, not as gray column, not as a red dot, but as a point of attack for the memory of the warming oven at the kitchen fire and its consequences, in the evening seclusion in the house, and all this does not float loosely in the air, but with the whole house woven into the landscape, contributes to the intellectual coloring, which superimposed over her sensual in. Now we must not say, though it has been said to me: everything that the association causes the intuition of the structure in nature here, could also have without this intuition by mere demonstration in the imagination, but this would mean to the landscape impression of the structure in nature have not, so he can not rest on such associations. - But what you individually are, one after the other, incomplete, with the effort of reflection would show much verknpfendes tape without, is us, at one stroke in an overall impression by the contemplation of the structure in nature than as a part of this intuition itself given. That's something very different, as those show, and it may also depend on a very different impression. I will remember this one small example of my own experience where my Everything confronted quite lively. During the holidays in 1865 I brought my wife a few weeks in a forester home, a quarter of an hour from Lauterbrunnen mountain in resins to. Our apartment was against a green hillside, we often climbed, and from where we had a view over a wide forested mountains of immature forms. Besides the Rangers home and a neighboring home were nowhere to be seen in the foreground human habitations, only in the distance sticking out of the monotony of lehnansteigenden to the mountains green forest a single red roof forth. But this brought a very special appeal to an otherwise

simple mood ratios of view. It was precisely the point of the whole landscape. And I said to myself: what if you made a very just such red spots on a green wall, it would just look so idyllic, sentimental, romantic, fairytale, like the red roof in the forest landscape? Certainly not. But I could also probably also recall the life and activity of people with its joys and sorrows in a lonely forest nature at once the red spot on the green wall, like the red roof of the forest? When I thought of this example, however, against someone who, educated in the school of modern aesthetics, would not tolerate the introduction of the new deity in it, for which he held the principle of association, I had to listen to this all throw in Kant's sense: All ', he said, what the memory added brought to the impressions of the red roof and green forest, which anknpfte from secondary ideas, not part of the essence of the aesthetic, the truly natural impression, and would only be separated in order to have him clean. For the pure scenic impression to the particular evocation is to do it the artist, but rests only in their own, so to speak musical relationships of form and color that go through the eye directly to us, and what we really visible as complement the roof of the house, the green forest land to forest in the imagination. Only what house and forest for their own visible beings are and how they engage with it in the other conditions of visibility for their scenic impression comes into consideration. But this is the deception objections to reason that house and forest all her own visible nature much more than meaningless and insignificant engaging in the conditions of visibility, are filled with colors lineaments. Only the usefulness of the house to live in, only the assets of the tree to grow, and what depends on both, brings content, life, the impression of depth in what we see of it. So how can even be talk of a romantic, idyllic, historic character of the landscape at all, if not, what the conditions of visibility for the whole life of the people mean to them, and only the higher picturesque meaning the least to be recognized conflicting, harmonious rhythmic relationships of colors and shapes would lend. As far as these are concerned, they only win by shooting himself in those higher relations higher scenic value, and then of course after the auxiliary Prinzipe also with higher values to be estimated as a carrier of the higher than for themselves. However, we believe that the dispute with now dismissed this objection, because it against the obstinacy with which he is held here and there are no reasons,. Continue our consideration to a little further It may happen, although the case is not often that a building, instead of increasing the attraction of a landscape, displeasing to the impression of the same enters it, be it that the associative demands of the building contradict those around him, both character hereby not to each other true, or that the building gives himself through his determination unpleasurable associations. The first case we would have if we were to catch sight of a Greek temple in a Nordic ice landscape or a Swabian peasant's hut under the palm trees. Meanwhile, those Structurally wedges or only very exceptionally occur precisely at such places, but rather the buildings appear almost always not only grown on the ground, but grew out of it. Each apartment seeks so to

speak, the right environment and each environment suitable apartment, which does not prevent that same hut find an equally suitable place at the foot than at the summit of the mountain, and at the same place in the woods a hunting lodge and a forest tavern can fit, there is, in this respect a certain width, which must not only be exceeded in order to justify not specified after (Section IX) Prinzipe displeased the impression of not mating of. But there are really cases where the building to tell us so disconnected from the environment and just as into it appears in the same set, but we also feel the same on aesthetic impressions. Especially so where the building is art standard, set inside an architectural accomplishment regardless of connection to the bypass or with the determination for purposes that have nothing to do with the environment. Not as easy as a palace full of jewelry or a factory building occurs with advantage in a landscape. The palace wants to rule over a setting of gardens or homes, but not on an unbound natural environment, and the factory workers united and work, we think we linked by any thread of interest or interaction with the surrounding nature. However nothing countryside as the castle on a rock, which without regard to symmetry and golden section all projections of the rock lags, as the mill, the transmission directly in the lively rushing water intervenes when the village, climb up the houses no roads on a mountain side or be scattered among orchards, etc The factory building realized in some degree while in the second case that the building through their own associations unpleasurable disturbs the natural impression, as we involuntarily think of all the plague of the work and all the misery of the proletariat. But worst of all, it is in this respect with asylums and penitentiaries. Many ancient castles and monasteries on hills and mountains are now configured, as we know it from such a structure, it is as if the stimulus it gave to the landscape, would be wiped out with cold water. Suffering but also the impact of the railway building outside the landscape to some extent because of her. One may well say that those now among the most significant achievements in architecture. What a great, distinctive, decorated in the purest forms of architectural level measure this type of work can be seen not only in one but in many places. This can show the consummate practicality, and who does not know the important role which, basically plays the usefulness only by association, in the aesthetics of architecture. But lacking the impression this building always something at full satisfaction and final height,. Never grant them the gladdening impression of a palace or a temple uplifting Why? Because the scene of bustle and business-like bustle we see in them that displeases us. But what, one may ask, due to all the major stimulus to the ruins of an old castle, an old castle, an old church - because the ruins of a hut or the ruin of a newly built house does not.- A landscape is able to provide? Does not this remind you of destruction, decay of some rich, Bold, Great, Holy? and are not displeasing memories? But there can be only memories, associations, therefore, that bring these approaches, stimulus, because everyone will admit that he can not depend on direct impression of the shape and color of the ruin. Yes, nothing is more appropriate to prove the power of associative factor in the natural impressions, than the force with which a gray shapeless ruin acts that barely stands out from the jagged rocks below.

Sure now if the ruin meant our own ruin, so the sight would make us not being, and even the thought of a ruin, of no concern ourselves could only discomfort to himself by his displeasure content, but there are countless impressions, which displeasure moments be outweighed by moments of pleasure with which they are related, so we will have to look at the ruins impressions only, so, and when we encounter similar cases, have to do the same. The ruins of all the castle takes us from the imagination of their decay easily into the romantic and lovely performances of ancient chivalry back, and not only that we dwell in themselves rather be with such ideas as those of decay, because they are just lovely, so tells us a lively receptive arousal and employment, which are out of the circle which, while we are dulled by habit out leads to anything, not even what we are reluctant to hear of terrible things if they do not affect only ourselves. Like to run but the people even after the conflagration of an ordinary house to enjoy the pleasure of this excitement; she is but with the charms of novelty over, as the displeasure moment of thought gaining destruction of the excess weight, and we want the fire place with a new see house replaced, for which we then also do not care. For the general history of the burned house has no incentive to sink us into it, and the new house has absolutely no history in which we could sink us. Unlike the ruin of something great, rich Bold, strong. Even if we do not know their real story, but linked through such an association after what we generally know about the past of such ruins and can be endlessly exploited by the imagination. Thus, the ruins of the old castle is the focal point of memories strange, powerful, turbulent nature of a strong moment of interest's in an otherwise sleepy landscape and calls an elegiac exchange pleasurable and unpleasurable associations with pleasure overweight in the whole show, like a feather after each instantaneous pressure the higher aufschnellt again. Entirely plausible that will appear when we now at the point of ruin visualize the penitentiary us. The prison leads to a very limited circle, and this association of nothing but pure and intensely unpleasurable ideas. As we see, instead of the long turbulent history of a proud life richer and bolder gender, which spins out from the ruins of a castle, a castle backward, the crammed convict the vicious life in the background and the current sad existence, in short, the worst of which, what embarrassed us in life, concentrated here. Like now the penitentiary still be built so nice and new, the associative bad impression is pleasing to the direct outweigh, at least terribly upset, whereas the right displeasing impression of ruin against the associative complacency same can not arise. Ruins on mountains look brighter than in the plain, partly because attention is worsening for the heights of the landscape itself, partly because of the impression of former mastery of the environment by building reinforced it. In part under the same terms as human constructions the accessories of the landscape covered by human figures. Only man is not quite as rooted in the landscape and appears insofar as a more random, the impression of the same just not so much the determining, part of the same, except that he had grown through his business himself with nature, as a shepherd in the Alps, the fishermen at sea. These are really

scenic elements, but not all characters that you see in painted landscapes, there are. Well, there are also landscapes that without all the buildings, even without a trace of human existence and activity at all, but a strong impression on the mind, as, for example, a great secluded mountainous area or forest-through in the sunshine, or rock by the sea what the surging waves. The sight of the man and his work is not the only thing that human emotions can stimulate association wise and tragic man can even by missing the human, but which again presupposes an associative memory of it, be excited. But the sight of man, his works, his tracks is certainly the ausgiebigste and effective means aesthetically significant feelings in the areas of visibility to awaken, and the landscape painter is seldom know without concurrence manage the same, but where it is, almost always a surrogate of the human in the animal life, which suggests the next association bridge to search. Thus, the lonely forest reviewing the game, the cliff with the surf missing but not easy not easy, the fluttering gull, or the resting seal it. Take out one of the most beautiful landscapes of Lessing, a lake on a rock wall, the cranes and herons, are the mind and has a master painted the same moment. Here, like one if I remember correctly, are thought by A. v. Humboldt DONE pronouncement: that there are viable motives for the landscape painter actually only in cultured countries, what can be noticed when the lushness of nature in so many areas thinking, where the foot of man still found no place, the culture of the soil has not yet taken hold. In fact, however, arrange themselves under the cultural influence of the elements of human nature in a new way, and where nothing reminds of this ordering effect, the impression of the landscape remains a slightly raw, artistic unusable.

XI. Relationship between poetry and painting from the point of view of the principle of association.
It is a much-discussed question of what are the boundaries between poetry and painting, and known to Lessing's Laocoon refers mainly on them. His presentation is like all of Lessing very attractive and witty, but I think that, in some respects, partly supplemented by consultation of considerations to which the principle of association gives rise, are partly a little more depth, the principle itself but this gives further can find explanation of its applicability. Besprochenermaen (Section IX, section 11) between poetry and painting of the equation point that the visible forms, which makes use of the painting, just as the audible words whose poetry and language in general uses, a common carrier had become by association , the higher impression of these mediating skills are important words which may be called the visible forms of things themselves. So important is this equation point he makes but left no less important differences, which we want to pursue something. The main difference is that we just something to play even the visible words of the painting of the represented thing, eg man-its external form and color, of course, not all people but some account of it, and that they merely the rest, what else belongs to

him prey to pass the associative imagination;, however, are the words of the language (with few exceptions) quite indifferent to the represented thing and leave all such notion as the word man the idea of the whole people, the word tree, the idea of the whole tree. Which combines the second, though less sweeping and important difference that the associative meanings of words are conventional and switch between different languages, however, that the forms up to certain limits, of course, only to those forced upon us and thus are human common. These are the words for eye and mouth and hereby the associative meanings attached to it could be confused in two languages, whereas the associative meanings of the shapes of eyes and mouth, after which, one can not be to see, the other for speaking and eating confuse . But this is true only of the fundamental or to say so natural meanings of the forms, but otherwise we all know that their meanings according to the diversity of experiences it change as well as the words to the diversity of conventions. And the conventional meanings of words have once fixed by habit, so they stick just as firmly as the natural meanings of the forms. Therefore, the lower importance of the second difference from the first, at least from the point of view that we will summarize here the eye. In so far as the painting gives the whole visible side of an issue directly and at once in full connexion and full of determination, which the mind at the same significant words only have association as cause, without being able to add other than an indefinite general public or to a lesser clarity, Painting is not only concerning the sensual side of the impression of visible objects in advantage: but this advantage also extends up to certain limits on the circle and the game of dependent associations because of the connexion, the completeness and clarity of sensual base of the associations of associations is even partly conditioned. Thus, the painted face gives us with the whole sensual total appearance of the face immediately and in one stroke the expression of a certain age, a certain degree of health, a certain intellectual talent, a certain state of mind of the person it belongs to, herewith an associative total impression can meet the linguistic description in any way by while they all speak of 'the, best of all, but not exhausted, can reproduce even after his full connexion in an associative total impression. The most beautiful face but not a nice description is possible, even less so the more beautiful it is, so one fails they all prefer and speaks only of the effect, no different with a landscape. The painting, however, may venture on the portrayal of both. But on the other hand, is what gives the painting directly, but only the surface of visible objects, and even that only in a single moment; neither but what is behind the surface, nor what precedes by movements and changes of matter and follows something else mentally or related causes and effects of it, yet something invisible at all can be given directly from her.But much of what it has to do with the representation of things and the action depends only way away and indeterminate with a visible surface together that the painting must either renounce ever portray it, or very insecure thereof on an associative evocation by that you can count on available funds. Cover against this and deplete the words of the language with their meaning and the possible combinations of the same the whole imagination and conceptual domain of humans and assets THEREFORE the progress of ideas and

thoughts with the dependent swing of emotions quite certain, by all exterior and interior , Mental and Physical, Past and Future, visible and invisible, to instruct General and Specific extending paths, and thus the advantage to painting after a certain relationship is expected to be compensated by advantages in other directions or to offer themselves. As for the impression of a lyric poem, an epic or drama or even a simple narrative replaced by a painting, even if it can be supplemented in some way. After this, the painting will ever find with greater advantages in applications where, the main aesthetic impression it depends directly on the related conception of set out in a moments appearance, or immediately and secure it triggered context and match aesthetically effective and satisfying association of ideas, in which the poetry and even linguistic representation of non-performance by absolutely nothing of direct impressions, and to induce powerful of the so fused circuits of associations only gradually these and those moments without the fullness thereof exhaust it and the dependent of their connection be able to produce total impression; able, however, which does not comply with the poetic representation and linguistic representation ever since with greater advantages, where the main aesthetic impression depends on further cross through time, space and interior relationships, the sensuous appearance of a visible surface of the initially ATTACHING ideas . Now there are objects, motives from previous viewpoints better poetry, others that are better left to the painting, but there is also enough, which can give a joint presentation material for both, only then both to each right in their limits to stay in the same substance rather cruise than have to cover by the seal showing the temporal sequence on the average by the time the means of the painting provides representation for a moment, would reach the painting to hinwiederum with its spatial distribution over through trending temporal river which provides the poetry, would reach the same gasket material deepens emotionally, from which the painting is the colored area. Referring now to both meet in the same idea circles, from the points of encounter but diverge, they occur also in the ratio of Twinning and complement each other, not only as arts in general, but can also be found in individual services to mutual amplification and complement their effects combine. Be accompanied the battle scene of an epic of a picture, for example, it can be the very indefinite lack of imagination, which is able to awaken the linguistic description of the spatial spread of the battle, complete with the image, enhance, enrich, or vice versa, the picturesque description a battle that would be incomprehensible to us about their motives and their historical or legendary connexion, complete with an added historical or epic narrative. Here and there one finds, however, the claim is made that any good image must be understood on its own, without an explanation to require andersher. Nothing untriftiger but as this assertion. On the contrary, every historical, mythological, religious, basically each image to be requested at all, the addition of knowledge that is not to draw from the image itself, not only to understand but also appreciated by all his values and perceived by its beauty . Only that we gain many insights that are

necessary for the understanding of images, already out of the ordinary fief, others can at the levels of education, which makes art accessible to the enjoyment at all, presuppose, without, it only specially added by the image of explanation to awaken. If one wants to speak of an understanding of the pictures or made by himself, so one can only speak of it in this sense. And so there are in fact countless images of itself in this sense are immediately understandable and enjoyable, but also others that are not, and yet we must also be considered. Who still requires a peculiar explanation, when he sees a nativity, a sky ride, a Dutch Treat scene, a landscape, each knows everything that goes with it is to understand, whereas many scenes from the profane history, and even some genre-like scenes nor the explanation at least require signature. What can you ask for cogent of those is that they do without the added explanation already make such a far appealing or interest impression to be looking for the supplementary understanding, so that the impression in order to do it is not entirely and even to arise only by the declaration, but to fulfill itself only to its full capacity, has not reasonably be expected to complement the performance of the whole. If there is a painting Luther before the assembled princes and bishops, must in bold, calm, god trusting trains of simple-bodied man, to the glory, the pride, the arrogance of the assembled Reichstag for the somewhat-sounding, uplifting, to further Research what all this meant, are stimulating, who knew nothing of this whole story. If the painter is not able to give the painting without an effect which makes the suspect in indefinite trains us what specific conceived by the supervening history, gives us a full inner enough, he would either not for the task not created or the object of the painting. Agreed that not only is the power of the image. Rather would without the supervening declaration in the vagueness and the mystery of how everything in the picture is related to the movement of the motives which depends expression, the impression with the merger into a single peak escape the force of such. Well, poetry can come reversed in explanatory relationship in various ways with the painting and. Some of their most effective motives draw so the painters almost from seals, the Homeric, Dante's, Shakespeare's, Goethe's, and then of course have to understand their works presuppose the knowledge of these seals. The most effective but these motives are the fact that the whole interest, which links the seal on the subject of the representation with a context and flow of ideas, which does not leave paint with them, going out of your poems for the one to whom it is familiar transmits to the painting and is able to kick back in a game of this idea, and indeed a poetic play, which is an advantage of such motifs from which is made of prosaic history. If one demands but even from a picture that make it a poetic impression; motifs from seals do not bring such a course, but quite half done in the image. Also can be a similar relationship as between poetry and painting in this respect within the poetry again find themselves. Among all the lyric poems of Goethe, there is probably none that abgewinnen us a more vivid interest and our feeling shaken to such an extent as the songs from Gretchen, Mignon, from Harper, even as those who are interspersed in his plays and novels. Lives just as those of Schiller's poems that appear in his plays, most lyrical force at, such as "The Oak Woods roars, the clouds

draw", - "Farewell ye mountains, her beloved pastures" - "Rushing clouds , sailor of the skies ". I remember a novel by Eichendorff, titled "idea and present", who, though not belonging to his best seals, but is imbued with a poetic breath, and where several songs related to the story received and give a peculiar charm. The reason is easy to understand the advantage on the former. The song, unable for itself, summarize Anything that holds sway in him feelings motivate and support could, at its divested of the greater whole, which it is incorporated, and can now more easily be content to merely the perform, followed by the sensation most directly linked, which compresses it to say that the most. Here however the whole novel Wilhelm Meister, the whole fist in the songs Mignon's and Gretchen's playing unconsciously in this sensation in with him and of all the wealth of meaningful relationships that interweave as in, offers us the song in his little shell the golden fruit . By reading Mignon's song, you can see they are, listen to them sing, and their past and future skill floats fantastically over. Some ancient pictorial representations explain in simple manner in that the figures in the names are enclosed wrote - and archaeologists are often happy enough to find it presented in a way - some old German pictures thus in most naive way that the when speaking it presented people the speech is hanging out in a long band to his mouth. Our present, in this respect, but probably better, taste arouse such tapeworms gripes because they alien parasites in the picture are, in fact, the well imagine with associative memory, but does not want to interrupt with funds to, and even the recording harm than good by explaining its meaning, except that the hermeneutic interest of aesthetic predilecti. font in the image itself more and more disruption of its relationship However, there is probably many a picture to equip when him if only to refresh the memory, the specific location of the seal or the Bible, in relation to which it is painted directly on the frame, or to its decorative version not to bother with it, is attached in addition to a written underneath. The Dsseldorf Hbner has illustrated the farewell scene of the old mother of her daughters Naomi from the Book of Ruth. Weeping and turned away from the younger daughter, while Ruth can not come loose from the mother and puts her hands on the shoulder of the wistful and deeply stirred looking woman. How true and beautiful all this may be shown, then painted me the silent mouth of Ruth not her touching speech wherein they pronounce the decision of not wanting to leave her mother, and hereby coherent sense of the whole painting just not rise as leave, as it is able the added Scripture, which is the speech itself to do, it reads: "Speak to me not of that, that I should leave you or to return from following after thee, whither thou goest, I will also be going there someday To where you remain , I will lodge. thy people shall be my people and your God my God. stirbest Where as I die, and there will I be buried. The Lord do so to me and more also, if ought but death separate you and me. " Certainly here rests a large, perhaps the largest part of the meaning of the scene for us in the words, not even the painter paint with now and could not be guessed from the painting, and of which but a few viewer a clear memory of reading the Bible have to be retained. On the other hand, it is for the one who reads the Bible passage

for himself, his impossible position, gesture, face of the persons so determined and alive in intuition to construct this when he gets introduced here by the gift of the painter. Thus, the painting forms with Scripture together, in fact, only here the full whole. Against this, it could certainly appear only as a superfluous pleonasm if under the famous Hildebrandt's painting "The sons of Edward" the place would set Shakespeare's, it follows pretty faithfully: "The couple were to each other grtend The unschuld'gen alabaster arms, Four Roses a stalk her lips, the summer is kissing in their beauty. " Because everything what the verse is saying here is much better to see in the painting itself. Unless, that would have an interest, and this interest can also leave it tingle to know the location of the poet, which blazes the subject to the image, and the way it was used to compare with it. From another point of view as the factual explanation of the sonnets are considered to have written at some pictures, some poets, such as by AW von Schlegel, a sonnet to the Sistine Madonna and J. Hbner in Dresden a whole ribbon Sonnets exists to the main images of the Dresden Gallery. Here it is not so much an explanation as to the images linguistic development of the poetic content or impression, to make the images or short summary and highlighting the moments that makes them do it. This is how a flower butterfly while not to their existence needs, but can put up with it but when once one focuses on her and her sucking the sweet juice. Instead of merely added to bring the memory of a poet working at a relating thereto painting or awaken by a short addition, poetic representation can be reversed by pictorial illustrate how now so often happens with novels, epic poems, plays, fairy tales, that one almost begins it to be tired and find a kind of intrusion of the visual arts to poetry in it. If you want to be entertained but also sometimes with this alone. Also, you will not be able to play the high performance of such connection, without wishing to discard at all, it is always more or less a two things, said poet and sculptor, but do not go hand in hand in one person. In fact, while it is always the impression of an image depicting a scene from a poem quite necessary to intervene

with the memory of the poem in this impression, because it is painted just for this condition, however, it is the impression a poem, which is written without the requirement of illustration and are white, nothing less than necessary to intervene with the idea circles of illustration in there, and if I used the advantage of the supplement thought that, for example, the illustration of the battle scene of an epic may grant a picture, then on closer consideration of this advantage also to make some deductions. From the outset is clear that poetry and painting do not agree together in such an external link to a correspondingly uniform total impressions and therefore be able to grant any equally effective support, as poetry and music in songs, because poetry and music of the song in the same river flow, so that their effects directly penetrate, however, you follow the poem and the illustrative picture just turns and then, however, with the ideas of a fraught such, so to speak, on the other unload with, but that is done only by means of an interruption, and how a can not break through the listener like a poet in the reading of a poem, he would not like to see by looking at the painting also interrupted the reading of the poem. This feature comes into consideration. If the epic poet portrays a battle, only certain moments of the battle in the context of the representation are generally engage aesthetically effective, and if they are of a certain page disadvantage poetic representation is that it can not display all the moments of the battle, is it from the other side an advantage that it does not need to represent all, but, leaving aside the indifferent, those on which it depends for much poetic effect, lift out and can weave into the overall context of effective poetic moments. This is how the light pure river of poetry.Against this painting is compelled to enter the battle all full width, which is part of the visible connexion same seen from a given spatial and temporal point of view, and thus provoke a context of associations, which with the one which causes the linguistic representation , though supplements, but also according to different sides to it is not to do, leads out of it. Also, we are used to, a picture not only for what it represents, but also as it is the same and is his task, to take into consideration, which we from another page, so to speak from the poetic river out to the country will be thrown. After all, the intersection of the two modes of representation enhance and enrich the impression both sides to some extent if only the point most effective intersection is also brought to the preferred application, and it is in this assertion, the illustrative artist to prove his art, nor have the ideas that we association as from one representation to another carry over from even the inclination, to unite to the most effective point. In this respect, however, with all the can not be avoided that the image leads out from the context of the seal in a certain sense, one can take the option of switching between the pursuit of both insofar as an advantage in the purchase, as any long movement in the same way or class of impressions finally tired, but the exchange between the two but the two together thus lasting moments loses displeasing a crash. And if viewed more rapidly than the need of the change occurs, if it so yes, a whole series of the same step over to hindurchzuschreiten later at pleasure. Captures the poem sufficiently, we will do it anyway, bored the poem, so

you can sometimes compensate by talking on the image if it is not more boring than that. Most fully, I mean supplement to poetry and visual arts in the Abecebchern, the Munich pictures sheet and flying leaves, there is nothing too little and not too much of one or the other side; needs that needs each other and has sichs so much , except that of course much of it too little and therefore is ever too much. One might be tempted, as, conversely, to reject the explanation of poems by beige added images from the aesthetic principle, multiple established that the art work of the imagination still leaving room, do not you all must anticipate. What more to add to the poem I will leave to the imagination, is supplemented by the added image, and vice versa, so nothing remains for the imagination, so it is better to separate the two as to connect. But this principle is one with under the various reasons rejection painted statues. And certainly, if these are reprehensible, for this reason, it is every illustration for the same reason. But on such a good authority is this principle has to invoke, I believe it is fundamentally untriftig. Rather, the more of determinations of the object to the artist's imagination anticipates the more occasions he gives her that go beyond that. Because you do not mean it that the artist with everything he can give, can bind the wings of imagination and narrowing its scope, he would have to take the whole world that makes this scope, anticipated and can give yourself. But of every piece of what he gives, you are free to another trip, the larger the radius of what he is, from the more approach points out she can fly, and the less they will be thereby stopped, those looking only . So it seems to me also Lessing's view, of which the above rule noted the outcome that an emotion must not be presented in its peak points of the visual arts to still let the imagination a supplement, not legitimate. If a screaming Laocoon would displease us, it is not, in fact, because the imagination beyond anything would be left, but because a man screaming in pain displeases us all. According to the usually invoked by Lessing examples; their children the murderous Medea and the raging Ajax. Ever displeases us every gegipfelte expression of physical pain as an adverse passion, what of the frenzy. The most noble expression of pain, a noble love, joy, enthusiasm, on the other hand will never displease us, rather like the more so the more we tell ourselves our imagination can do nothing about it, and the imagination is but the fact that they are the all designs, sequences, relationships of destiny, what the expression evoked, nor imagine, can deepen it in the full dimensions, and for this they will be found the more excited, the more it is shown the expression in the most striking moments on its highest scale . Would this principle in its generality correct, Cornelius would have done very ill to have run through the spit by the Hagen-Siegfried and his Nibelungen cycle. Only the backswing with the skewers would have been permitted thereafter, whereas the spear in the picture to the imagination nothing more to be desired, has even made the journey through the body and protrudes from the tip of the breast. Why, they say, it is the imagination not yet finished, for all the past and follow the poem is conjured up by the imagination, on this occasion, which itself culminates everything. But all right,

that's just what I say, and the same is in fact at every summit points in which an artist is his subject, be the case, and in the picture all the way through gerannte Sigfried is more effective in this regard, as the first of the imagination by rennende. Well, it can happen, that still prefers the vagueness of vivid imagination, which can be left for a poem, the determination, in which the image she is trying to fix. Not easy is a pictorial representation of Mignon, Gretchen, Lotte, Ottilie, Claerchen someone to do it Thank you, not only depends on the fact that the painter's imagination shortened by their performance, but that he was not satisfied by this so important as the poet and it would have to be in the appropriate direction. This applies not easy. We want to find the points of the whole deep inner most individual traits held in poetic description of those personalities in the picture, but they are not sufficient here or are others here, as we are looking for. Meanwhile, there is no lack of poetic descriptions, where the impression can win only in that the vagueness of the painter, the poet makes the left, fill, we are thereby enriched rather than impoverished. So you can Tasso and Ariosto illustrate lighter than Goethe, for in those can be a lot of knights and beautiful ladies in general align because the poem itself will bear no more, not with this. In as intimate and vivid interaction occurs with the poetry of painting in a despised art, Bnkelsngerei by the written addition represented here by the word, the linguistic impression enlivened by rhythm and melody, stress, raising and lowering of the voice, and lifted up and obtained by the pointing stick in constant connection with the opinion of the painted scenes.One would think that there could be no more advantageous connection, and in fact can wonder whether this until now directed at fairs and art is not limited to execution crudest higher education and action was capable of. Let's look at the people standing around the political satirist, as it stretches the heads, locks on the mouths and ears perk up. Neither the song nor the painting alone alone would captivate his attention. So it must be the combination of advantage. But like the rude people, the raw image on a dirty canvas with the monotonous song that comes from a decrepit hoarse or raspy voice of a half-starved figure, and a bad rhyme subject, one would think that a beautiful expressive voice with a sequence of good images put in right relationship, ever accomplished by any relationship, after which the Bnkelsngerei is still raw, its effect could not fail to have an educated audience. Only that poem and picture should be explicitly applied to complementarity rather than by repeating each other. How boring can be a poem that describes the shape of a person or an area in detail, all this low level of enumeration can never replace the image of the finger pointing. How long the other hand, we often have only a painting back and herblicken before the idea is the way of understanding it, here it is guided by the narrative immediately right, and at the same time get through the song in the right mood. All this sounds quite nice, since it has been put together just all that they can speak in favor of such art here, but would like to speak with the most feeling against their authority, and this feeling could possibly be right. Pursuant namely, as painting and singing are consummate in itself, would also probably increase the tendency to follow each for itself, their greater perfection so only complicate their cooperation and

continued and continued renewing excitation, the temporal pursuit of song by the spatial pursuance of the image to stop - because quite a simultaneous pursuit is but despite the pointing stick is not possible - be just as annoying. This is different with illustrations of poems by images where the simultaneous tracking of both is not forced and is not claimed, it rather only when one is tired of the one, turn back to the other needs. But against this questionable whether consideration by this counter-strikes against those odds, and not that little cheap feeling but simply originated from the fact that the previous version does little, because it is just nothing else has been able to form. Well anyway is my view that in the aesthetics Everything is to try what is not abzumachen a priori, and I consider the question of such art, being duly without putting course great confidence in this future art.

XII. Physiognomic and instinctive impressions.

It can happen and often happens that we attracted or repelled by people at the first meeting will find us before they have done the least of our affection deserved or could justify our dislike that they us how you express yourself are sympathetic or antipathetic, without that we can give an account of why. Women are particularly strong in such a way to tell a priori sympathies and antipathies, a face is often a worse crime in them as an act. By now you feel is a real and usually passes it often better than us the reason. Hartmann says the wisdom of the unconscious does it. Well, the only question is how it has this wisdom. I mean, therefore, at least in the main, that all the experiences we made by youth about kindness, love, evil, wickedness of the people in connection with the sight and Behaben - numerous but are they which we individually we can not remember - make us the sight of a new man results in an associative claims what can we more or less decided to vote in favor or disadvantage of the personalities concerned, according as it coincides with a more or less definite direction of our liking or disliking. It has been argued here against me that even small children, but have little experience of people can make, make known the most definite inclination or aversion to those near them the first time. But the same person, in front of a child initially crept into the bosom of the mother, it is often after a few hours, begins the person's only right on, the dearest. A few rusks can do much to uproot the inborn dislike what you want to keep it. Small children ever succeed as a moving balance beam easily the smallest impressions after one like the other. And then, so little experience to people and the child can make, so make those who can make it, but even a basis for associations that vividly imprinted in the freshness of his mind and make their success as long shrill until The same is canceled by the opposite experience. But anyone who has ever watched a child so well that he could tell what associations have the benefit or detriment of a person kicking him again against already linked with him, which still exist and which have crumbled again. Often the child may take the person only displease the dress.In childish sympathies and antipathies thus nothing to give to the question. That the associative mediation of physiognomic impression is not easily aware,

though is guilt, that you look like a mystical reason. It can, as you probably thinks two people like two strings of her basic device can be tuned by harmonious or discordant to each other, and you feel something in the impression of the appearance of this harmony or disharmony, without the need for any previous experience to the mediation of it. I will not say that this was absolutely impossible, but rather that it is very doubtful the clear reason opposite, who was state By previous, and should something of this kind to take place, which I for the absence of decisive evidence as reflected there imagine, it does not cancel the previous reason, but just complicated with him. Through past experience unmediated impressions of the kind one would have expected to instinctive, and it leads the to the more general question of the relationship have any instinctive impressions of the associative and how far they can represent such, what I want to do some considerations that affect the aesthetic interest with at least. The instincts of the animals prove in any case that some psycho-physical facilities, the only must acquire through practice or experience of the person, can also be congenital. A chicken, which only just crawled out of the egg, snapped just after a spider hanging from a strand next to the egg, where it knew that that was a thing to eat? The bee searches for the first trips honey in the flowers, which lead them to the right hiding place? The sight of the spider, the flowers here have an innate facility to trigger a similar game of sensations and instincts in us as the sight of a delicious fruit after earlier experience gained triggers when he makes us the same desire to reach for it. You can search for the origin of the equipment is instinctive and thus search with the assioziativ acquired to bring under a common viewpoint, but that they acquired from the ancestors of the creatures which they come, in the course of life or the generations only by inheritance to them were planted. This is consistent with much of the Darwinian theory and finds its support in the fact that some proven instincts bred animals are created in such a way that the instincts of the German Shepherd, Basset dog and chickens. While one can certainly argue that, to learn if the bees had only to find that honey in the flowers, and the spiders will learn how to spin a web, it would be long before starving because of the random and the struggle for existence, which would have to represent the human master, the animals would not be equal to this feed to acquired skill also. The fundamental instincts, but seem to have a fundamental reason, which does not prevent them to be developed and modified by education in certain directions. So I imagine rather in terms of a view that I have developed in my "Ideas for Creation Story", before that, in the earthly original system nor uniform contiguous or fused, organization of bee and flower is in dispute (differentiation) of this system in the peculiar realms and their limbs apart so placed that both were still linked by mutual compensation effect in the sense of preservation of the whole and its own vibrant continuance.Hckelisch that is not of course. However, we can at least rule on that question undecided. The fact instinctive facilities in animals remains in any case exist, and even the people not missing those

all; wherever heard that the child's mother's breast, which it sees or to which it is put, recognizes as a subject and means of satisfaction of an instinct, even at any round object which is put into his mouth, begins to suck, and that, although not directly hereditary, but naturally being developed from native plant, later sexual desire at the sight or touch of that which can satisfy them, wake up. Thereafter, the task, except for the direct and associative factor made from the objects for us to consider an instinctive impressions to investigate di what about these impressions rather than acquired through an innate facility cooperates with direct, between which and the instinctive way, there is no such strict conceptual divorce that is not pleasing to the symmetry could be explained as an instinctive thing means. An aesthetic interest of consideration instinctive impressions makes itself felt especially in the question about the reasons of human beauty. Depends on the favor of the people of the human form much of an inborn, innate respectively from plant by itself evolving, institution or purchased on the paths of association in dealing with people from device? In this respect, it seems to me to consider the following. If already generally speaking instincts of very specific direction in humans is less present as in animals, you will still have to concede instinctive sex drive and probably gregariousness him, and there and many are also looking for all the animals of their same gender sociable, but the instinctive equipment related to is the effect of Anblickes shape with offset, as same may also apply to the people in a state of nature, and indeed be the pleasure of the people on the human form, as a moment of an inhaling of people to each other, with an instinctive significantly. Meanwhile, all purely instinctive impressions and impulses in humans as in animals, but only a very simple and low nature, and far more in people than in animals, the success of instinct in the course of life are modified by intercourse with their peers and the external things and in higher directed paths, so the pleasure ties among different peoples of very different proportions of the human figure, and among the peoples formed the only way to understand association, expression of character and physical and mental ability of a favor higher aspects related. This is followed forges a question of some interest, which would be neither decided nor myself would venture to decide, namely whether the expression of the simplest movements of the soul in the face of a man, of joy, of pain, of affection, anger, his interpretation of the part of the other only associative is instinctively a result of earlier experience or innate basis. To represent the first view, one would be able to speak about that. There is no reason why the people the smile of the mouth or angry at first glance should reveal more or something different from the spiritual heart of man than this or that position of the legs and hands. You just try it, a child who has never seen a angry look associated with Zorneshandlungen, the first time angry to see if you can scare it thus. The child must just be trained to understand this view, as the hound the words and gestures of his Lord. This dressage makes but the child of itself By it looks for acts of the same character of kindness or the wrath always return the same faces,

while positions of the arms and legs move freely, the association with that is constant, while they deal with this by dissolves itself by opposing associations destruct. But saw the child that the mother about every sat or riots, to caress it, it would equally be designated a train of friendliness as the smiling countenance, as we supposed, for this reason a gentle forward inclination of the head as a sign View of kindness have learn, so even the word affection has arisen. So gradually replaced every look, every train, so every movement a physiognomic importance to us. Point one finally in this respect the Experimentum cruets on, - parents, it is certainly not unreasonable, - to smile at a child from an early age always, while it beats, and terrible to look at, while one offers him food and caresses, so will the operate importance of smiling and angry expression for the same almost, yes it is, as long as it is not in the mirror with those of others has its own mines can compare believe to smile even when it looks angry, and look angry, if there smiling because it will then associate the same expression of feelings, which is always met him with others of his own feelings, and of course it would be maddening for the same thing if the he finally look in the mirror would prove the contrary. Possible that this is so, but because someone has really made the Experimentum cruets, and even if the success as were unviable, as is assumed here, nothing would be proved rigorously that, because yes instinctive impulses, why not instinctive impressions through dressage can be suppressed and weighed. Probably even the child that acts of kindness the part of the other would would look always accompanied by an angry glances of the children begotten of imitation itself virtue finally begin to accompany such acts with an angry look, to do despite the native instinct to the contrary. Experiments of bestimmterem success than small children who can not express their impressions and to focus their attention not know, perhaps to let born blind who have been operated only grow, hire. These are the expression of joy, of pain, of love and of the wrath of a vision can distinguish immediately after the cataract lenses they put in a position to anything significantly different? But they probably will not start at all a face recognizable as such, and also be close to from this nothing certain. And even assuming the child had an instinctive pleasure in the friendly face, so could this instinct in an adult get at all from childhood not to his face, his atrophied more so than the feel over the role of the face at him. In fact, people are born blind so completely disoriented after surgery in the realm of the visible, that they start closing your eyes to find your way around. Now, however, suggests the fact that in any case an innate facility is to actively express our own emotions rather by this than those facial expressions, gestures, sounds, the idea that you correspond to an equally innate facility to understand this expression also the part of the other, but even if it is instinctive knowledge, yea regarding the Locktne the animals, so with this is not to doubt, the only question is how far to generalize this. Also, can assert a fact which proves that the instinctive association of their own state of mind associated with an express term at least something is much surer and more definite than the realization of such an alien. One can namely be found by observation, that imitate the physical manifestation of a

strange state of mind that know much better taught than simply seeing this statement by a accents of the foreign state of mind then associates in the opposite direction to it, and although this fact is not generally known is, it seems to be generally valid. A women's room so nachzutrippeln, so if I shall go behind someone I do not know, and his walk and his Behaben imitate as closely as possible, is to me like in a strange way, quite as to mute, I think that the person must be self to mute or nachzuhuschen, so to speak, put into the female mood. In Burke (from Sch., And E. 216) I read the following, which belongs here. "Spon tells us see Recherches d'Antiquit a belonging here, weird history, was of the famous Physiognomists Campanella. This man, to all appearance, not only made very accurate observations on the human facial features, but he also possessed a high degree the art that imitate merklichsten., if he felt like the affections of those with whom he dealt, explore, so he took to be as accurate as he could, the face, the gesture, the whole of the persons to whom he investigated. And then he was just eight, in what a state of mind he was moved by this change. In this way, says my author, he was able to completely penetrate into the sentiments and thoughts of others, as if he is in the person would have converted the same. So much, I often find myself, that does if I simulate the facial expressions and gestures of an angry, gentle, bold or timid people, I have a quite involuntary tendency to the passion find in me, whose visible sign I imitate looking for. " Now, if the knowledge of the foreign state of mind from his physical manifestation of a thing just as resolute as the instinct utterance itself, so it would require not only the imitation of exact knowledge. From the other side is not to ignore that this is complicated states of mind, which would not be excluded, but that the utterances of the simplest movements of the soul just as surely as if done instinctively understood. But we can leave the questions in this regard, the easier draw, just as they do not engage deeply in the field of our aesthetic considerations.

XIII. Representation of the direct factor of aesthetic impressions compared to the associative.
1) Preliminary observations. That in transition and Armed aesthetic views not only direct but also the associative factor aesthetic impressions sometimes suffers injustice, is discussed earlier in general, and after we searched the first earlier to preserve his right and importance, we want the second with the following considerations equal looking to meet. That shapes, colors, sounds, and even relationships of those whose idea goes even beyond the purely sensual, us ruthlessly tethered sense, meaning, purpose, and without a memory of outwardly or inwardly it earlier Experienced, just by virtue of the direct effect, more or less liked or disliked can, nobody doubts. Everyone likes apart from association pure saturated red or blue better than dirty pale, and the compilation of red and blue better than yellow and green, each a pure rich tone better than an impure or a shrieking, each a purely symmetrical square better than a warped;

consistently associated manifold in general better than monotony or irregular shape tangle. Where, however, added association occurs, it can provide both, the direct effect dependent disturb complacency as increase. All this is partly tacitly assumed in previous considerations, particularly partly been discussed, but has been maintained over the course of this meeting, that while in the arts of visibility of the associative factor plays the main role in the music rather this would fall to the direct factor. That statement should now find their execution and as far as possible justification in aufzeiglichen conditions, but are thereafter shown that, if already in the arts of visibility of the direct factor a much more subordinate role as the music is playing, his performance but by no means here to should despise. 2) The direct factor in music. The impression of the music play all the distinct factors which enter into the same or which is composed of the same, a distinct role, if with the same impression of each amendment modifies itself in other ways. But the language has no means all modifications and amendments of the impression hereafter adequately and exhaustively to describe, if not by specifying the causal factors themselves, which give the impression now depends. Meanwhile, you can but for reasons of clarity the ways or sides of the impression that depend on modifications of tempo's, stroke, rhythm, direction, and the change of on ascending and descending in the scale of the thickness and height of the tones, summarized under the expression of musical moods, here against those who depend on, mediated by the overtones relationships of tones (sounds), as a sense of melody and harmony, and thereafter briefly distinguish a mood element and a specific element of the music, if the latter is the music is peculiar than the former. These two elements basically collective elements, based the main effects of music, they are independent of associations of ideas, and so much from ideas, memories and resultants of the same, with respect to build on things and relationships outside the music because it remains casually for this much musical effects and changes within certain limits, in addition to the same music on random circumstances. Which, as mentioned here, musical, moods are partly consistent with such, or to sound to those of certain page that can be there even without the presence of music in people, as there are moods of joy, the seriousness or even the sadness , excitement or Snftigung, strength or mildness, of grandeur and loveliness, of more or less light flux emotion. We call such sentiments in the absence of other Designating short term living related moods of the music. Although the musical moods are not thereby exhausted by far - because of how many could one find no other characteristics than by the musical figures or passages themselves, of which they depend - but they are of particular importance in so far as the music is one of their agents is to enter into a relationship with other arts and life outside of music. 1)
1)

Whether the life-related moods, what we have here called so, not, at least be with partly influenced by the melodic and harmonic relationships of the tones (sounds) may be doubtful, but is certainly not necessary to assume

it. Indisputably does have the direction of the on ascending and descending and the change in the height scale of tones influence it, and thereupon it led otherwise the melodic relationships themselves back, but if Helmholtz's views, as it has all the appearance in (this relationship is correct, are not the height relations in itself, giving the melody, but the relationships between the overtones, which go with it, and without which not only allow the amount relationships have.

In regard to this life-related cues should be well able to express a principle justly, that the terms and conditions of the music, making such an atmosphere is created that in essential points with the active expression of the same sentiment in voice and movements of people meet, as far as Namely, after the establishment of the various musical instruments and human organization is possible. A funny music has a different pace, a different rhythm than a tragic, and an analog contrast shows the peculiar expression of mirth and sadness in voice and movement. This however is not necessary to assume that in order to be moved by the music in a mood of a given character, an already expressed active expression of the same sentiment must remember only us, but in the agreement of, generated by the music in us rhythmic and ever for a mood characteristic movement with such conditions, which are anticipated in us with our moods in natural relationship, and the conformity of the moods of self appears naturally justified. Since the active expression of our sentiments is not much melodically or harmonically, you will have even less reason to give the impression of melody and harmony in music from a memory of such an expression depends. But there are feelings of many kinds, which of above mentioned living related moods, which awaken or is to maintain the ability of the music, and still carry a very general nature, unless it can be very different series of ideas common to a greater certainty thus have expected, that they are complicated with association notions of future, past, things verlornem luck or bad luck, or ratios of the inclination and aversion to Anedern, as there are the feelings of hope, fear, longing, sadness, love, hatred, anger, revenge; - and so indisputably Hanslick 2)quite right when he denies the ability of music to evoke those feelings or express with certainty as they say. You can not do it because they can not cause with certainty the characteristic association of ideas feelings. In contrast with those general moods. It requires, in fact, no association to gently voted by a soft music through a lively excited to be voted through a sad tragic. At no sad songs fit a fun melody to a sad not funny. Now insofar as associations of ideas can carry one or the other character itself, but also their emergence through this or that mood and thus favors a music of this mood, but the mood is not caused by the association only. And can because the same mood character very different series of ideas may be common, such as the mourning of very different causes arising, which form the content of the sad ideas, it is also commonly spoken remain indeterminate and depend only on random subjective or objective constraints, whether a certain mood music of this or that character carries with it at all

acceptable from the series of ideas.

2)

"From the musical beauty. Rud. Weigel., 1854."

Well developed and the sense of the musician behind the perception of musical relations not refined in that it the longer the more reclaims them an associative nonmusical meaning, but that he immerses himself more and more into the realm of tonal relationships themselves, higher and more intricate relationships between interpret learns that escape the crude untrained opinion. But that they remain the responsibility of the direct impression. However, the rhythmic movements and relationships of the music changes and contrasts of strength and weakness, and even the sound of some sounds can also remind you directly to many things outside of music, as the waves, the roar of the sea, the trickling of the stream or noise the waterfall, the whispering or howling of the wind, the rolling of thunder, the falling of snowflakes, the gallop of the horse, the flapping of birds, the trill of the lark, the song of the blackbird, etc, and so is a play along by association notions of this kind concede the music in the same sense as memories can play on any yellow, red, concave, convex objects even at the sight of yellow, red, concave, convex objects, but yet only marginal play along with the suitable impression. And so one one does not see why the main idea of the musical relationships only the imitation of others, should write to the memory of others, why do they not have the right to make their own impression argued mainly make and independently of such memories argued from the outset should not exclude the silent play along there, but just not much and almost always is constantly sometimes only in traces. No music represents yet in all their conduct completely the waves of the sea or the gallop of a horse, etc, but memories will, which approximately gives the music as easily disturbed again, displaced, destroyed, as they assert themselves when they make any claims. For the specific musical sensations but which depend upon the be concatenated melodic and harmonic relationships of the tones, there is only ever highly incomplete analogues in our other experience groups that are not removed reproduce the magic of music, so why only to such analogs have to a result of memory to explain this magic to it. While you like it from the point of a very general comparison can apply when Lotze (Gesch. p 490) says: "that the keys that infinite coverability, comparability, and relationship content represent tiered world of difference at all, by which it happened is that the diversity of the real, which is subject to the general laws uniformly, also forms an ordered whole on each other indicators showing, passing over into each other or mutually exclusive genres, "but not quite as I want to give Lotze is right in that it is the" memory " whether these conditions the world content, what the characters, rhythms, relationships of music for us doing valuable. 3) Rather, precisely because the music itself provides the best example of a valuable addition, relationship, gradation of the world content, it is to no memory require the awakening of a valuable impression something beyond the music. Nor do I believe that Mozart and Schubert were the people to be diagnosed in creation of their symphonies by memories of the world response over the world of music beyond; yes one can ask

whether a movement of spirit in large or harmonious relations of life and makes for such thinking outside the music at all productive in the music. For just as easily enter into this relationship an antagonistic one as a friendly relationship.
3)

"The value of these we consider not own, they appear beautiful by reawaken the memory of the many goods that are possible in the same rhythm of the action, and only in him." (Gesch. p 487). Comp. "About the Bed d Kunstschnh." pp. 21

Undisputed though, the whole intellectual property of the people displaced by the engagement of music vibrations, and depending on this property, a significant or insignificant way or is geartetes, which depends on the former education progress of the people, the music is by the vibration or atmosphere in which it puts the content that property to express significant or less significant, such or such effects be able, but can someone relatively very little education have, and stronger and higher direct musical impressions received, the music in the truest sense better understand and more measured than the educated when it is practiced as this in the apprehension and tracking of musical relationships and more musical system has, anyway, that he was little, the other can be a lot and associate Major, is just the byproduct of Music at the other major. The previous thing does not prevent us in a general consideration of the arts as it is to be taken with swing from above, we have only meet with our progress, remind us of the subordination of the musical relationships valuable general relationships of the universe, but I would like the not even search for the specific effect of music in such a memory. Subject to the rules of which depends on the musical complacency, is to refer to peculiar relations to musical specialty and trusses. The most fundamental laws in this regard, however still seem to lie in the dark, or at least still lack a hinlnglichen definiteness me. Mentioned (examples) as described in section VI, I believe that the principle of unified link of the manifold plays a major role in what may (in respect of the resolution of dissonances) are an aesthetic principle of reconciliation in Mitrcksicht. The relationships of the clock and rhythm, the fundamental relationships of different tones in regard to the equality and inequality of the overtones as among themselves, and the formation of higher relations between low pass attack for the former principle, and indeed most manifold and changing targets. The principle seems to say so with desire to develop it and to indulge in all the higher regions, the higher rises the musical development. No other area offers in this respect a margin equal to favorable conditions dar. But it must be conceded that this principle can be passed in the general assembly, which it has so far, is much too vague to be executed in a special musical theory or even a to form Dimension musical complacency it. The fundamental task in this respect will be at all difficult to match, and I do without even the attempt to do so. Hanslick compares his work (p. 32 33) the impact of the music once with the

arabesques, sometimes with the kaleidoscopic character. Both comparisons are up to certain limits and explanatory very aptly, though only up to certain limits. The points of comparison are that first, both characters just like the music, if you want to talk about figures in music, aesthetic effect with no significant involvement of the association, only that it merely arabesques of meandering and braiding moves of uniform character without which, however, usually have with incoming, plant, animal and human developments have in mind, - secondly, in the visible in those figures can just as with the audible due to the complacency of the principle of unified link of the manifold are looking for. But with all those visible figures are far away to make a musical impression, and this is due to more general differences that fail the visibility of the arts in general the ability to make music. Although that the arabesques and kaleidoscopic figures present themselves to the eye than to change, however, run the figures of the music in time, does not constitute a substantial difference, because not only that you can follow arabesques with eye and attention over time, can also be found in the game of colors piano, but especially in the magnificent spectacle of Kalospinthechromokrene the timing of the music in the game of changing colors again, and may in fact say that, if anything is the impression of the music approaches in the areas of visibility, it is such a spectacle 's. But this closest approach is still a very large distance between the two. What is it? - Easy to find the following differences: Each musical usable tone (sound), which we hear is a fundamental and a series of determined graded to vibration conditions differing in simple whole numbers, distinguishable by the direction of attention to certain limits, overtones composed 4) , which, as already noticed manifold and varying in height relations of equality and inequality between the different shades are possible, which are not flat as possible between the different colors. For there is indeed composite colors as well as composite tones (sounds), so it is very likely 5) that even any objectively simple homogeneous color beam in the Opticusfaser or the connection of optic fibers, he meets a mixture of colors, with obesity a certain color, is triggered. But the components of a color mixture are absolutely not attention distinguishable 6) , can be found throughout only within the limits of an octave plus a fourth, for further extends even the visibility of the colors do not, however, already the second overtone this limit exceeds, and are generally speaking rather the composition of noise as the composition of a musical tone (sound) analogously. With corresponding means no music would also Tongebiete can make, and it can be explained after a previous differences, why the spectacle of Kalospinthechromokrene rather internally makes us the impression of a magnificent post-and co-existence as one at the same timerelated, such as melody and harmony. But it is questionable whether adopted or exhausted the fundamental differences between sounds and colors with the previous points, which are important in this case, in any event, there are deeper but so far not sufficiently enlightened differences. Why, for example, increases the sensation of tones in pitch with the vibration frequency without changing the character continuously, however, be a change in colors characteristic of different impressions, red, yellow, blue shows that has to do with differences in perception of pitch

anything. Why are all the clashing tones of an octave an unpleasant noise, however, one should expect a correspondingly pleasant than white light, etc. 7) I do not immerse myself further into this until now unresolved issues.
4)

Even the sounds that are produced outside our ear as simple, it applies, giving all of them in our ears after its establishment with the Root externally produced the series called harmonic tones, which provides a plucked string as overtones with the fundamental note, when, as if the objective conditions exist for their formation already at a lower strength. It may also be because these harmonic tones in the ordinary human voice through music and string instruments go with constant virtue of objective production that the association participates something that generated internally even where they lack objective to increasingly bring into consciousness. Comp. Helmholtz, sensation of sound (3). 248th 249 and an essay by JJ Mller in the reports of schs Soc. , 1871. 115th - The deliberate separation of the harmonics from the fundamental tone without concurrence of special aids succeed but only by means of large practice and effort of attention; unsteitig existing in itself but has the possibility of divorce an influence in comparison (see Elem d Psychoph 11 272nd.) two tones, or rather sounds, so far as one understands a tone with overtones of discrimination under stringent sound.
5) 6)

Comp. Here on m. El. d Psychophys. 11th P 301

This probably depends on the fact that they are not just like that of a clay mixture perceived by different nerve fibers .
7)

A more detailed compilation and discussion of kinship and Verschiedenheits relationship between tones and colors found in in. Elem. d Psychoph. II, pp. 267 ff

Since about planting the musical impressions through the medium of the nerves to the soul, but probably cause the external vibrations of the music corresponding inner nervous vibrations, one has declined to explain the psychological effects of music on several occasions this inner nervous movements. And why not, only that it comes to a hair farther than by reference to the external vibrations, because why now bring these inner vibrations these psychological effects? This is a question of inner psychophysics, but has no definite answer, as the outer psychophysics to the question of why, ie the laws by which the external vibrations have this effect. But those should even be able to give the answer, it would nonetheless be only on the basis of experiences in the outer psychophysics. And that the aesthetics at all so far can not well to questions of inner psychophysics involved, is recalled several times. The passing comments here relatable (Section VI pt 5) are also to take up only as incidental to the purchase. Let all the fundamental questions that are not to do until now, ever at hand, and come back at some of the surface nearer, hereby the discussion more accessible

points only touched up rather than have been discussed in recent times but musical world have often busy and put a contrary view. We denote henceforth for brevity living related moods of joy, of seriousness, of excitement, of gentleness, etc., which is to awaken or as they say express the power of music, mostly simply as moods, feelings of love, longing, etc., which determined because of their associations with complication evoke a particular kind is not within the power of the music, simply as feelings, and consider the relationship of music to both closer. A musical mood of a given character can prove this character in four ways, and when we say that a music grant the expression of a certain mood, you understand basically nothing else than such a proof below. Once the fact that when she meets people it in an indifferent state, susceptibility of the same for music at all provided mixed into the atmosphere in question, and secondly, that if it is it already in the appropriate mood, receives it, and this increases; thirdly, that when he finds himself in the opposite mood, but do not be too strong, the same overcomes and sets its own mood character of the place; fourth, but if the opposite sentiment is too strong, it does not overcome, but now their continuing contradicted claims with pain, whereas if her character with its combination of existing mood, this mood is perceived as beneficial cooperation, which has also held when the opposite mood is overcome by the appropriate now exists. In fact must except the aesthetic effect, which can apart from already existing mood to express the music, the conformity or conflict with this even be considered as an aesthetic element effect into account. Explained previously is justified to fun music can be the sad, the sadness does not go too deep cheer, on the other hand, if the same goes deeper, only gives him discomfort and, if possible, be the same lets him escape, while a music that grief expresses, may appeal to him, despite that her mood character can only go to be there to strengthen its displeasure, and to make him so deeply sunk in the ideas that carry this character, but this is reluctance torque due to the interaction two moments of pleasure outweighed the combination mood of the character of the excitation it receives from the music. using the existing mood and specific pleasing impression of the music remains the same even in a tragic character The appropriate application thereof in fun is easy to make. The Sleepy, he is not too sleepy, will find themselves encouraged by a lively music, but he is very sleepy, thereby disturbed only find with pain. That really the soothing impression can make a sad sad music to that specifically pleasing impression of the music is essential, due to the fact that, if allowed to fall away, falls away and the soothing of the impression. Music with a heart-rending dissonances like someone's mood throughout the match, but he will not want to hear. On the other hand, generally speaking you will like to hear cheerful music at the same consummate musical composition as a whole more often than funeral music, because the mood character is there more advantageous. But if, without itself being in mourning, but sometimes funeral music likes to hear, it is, apart from the charms of variety, because, once placed in a mood of sad by the music, then also feel the soothing effect the same as this such as the continuance of a, once initiated by the Mood by the progress of the music the benefit of combination mood of the later

granted excited mood with the already existing mood. In this respect, the composition of a song by Any amendments to disadvantage against (but also in other respects advantageous) repetition of the composition of the Verses, provided that it is well made the whole atmosphere dominant character of the song. What way does not exclude even that evasions of a mood that reconciliation in the progress, can be an advantage, and that advantage other than hang on the through-composed of the repetition that can outweigh circumstances, then what to enter into any detail here. What's feelings is concerned, do not cause the assets of the music is appropriate certainty as the moods, so the music acts but not quite indifferent to it because these feelings without consist entirely of moods, but the character have the same part, and be whichever they occur in this or that character mood, then affected in previous way of the music. But by the same feelings can change the mood of nature, the influence of the music will change to how, for example, because the feeling of love be a smooth or fiery, yes even be stormy, ie the highest degree of agitation may increase The Wrath of a silent or can be highly excited, from which brightens again that you can not listen to music with it a certainty whether they want to express love or anger when they want to express anything at all. Meanwhile, not every feeling easily take on any mood nature equal, and some feel some character does not, for example, the feeling of hatred, fear not the joy, loveliness, that the sadness not to the strong excitement, and when love confessedly in a state of high excitement, anger can occur as a silent fury, it will nevertheless be only in exceptional cases. So can equally well and equally often not fit any mood music from a particular character to any feelings. Melodies for songs, hope, longing, love sadness which express, like each other, as equally suitable for a like other feelings, are easily confused, but they are not to be confused with good melodies of songs that anger, hatred, revenge expressing anger, because not only exceptionally or the mood of the character of both feelings confused. Even with the feelings of mood changing character but not every character, or any modification thereof will be beneficial aesthetically identical, so they can also take place from this point a choice in the art. Briefly through the medium of musical expression moods that go into more definite feelings, but also this one more or less matching phrase will be accessible through the Music within a certain, albeit very vaguely consistent, limits. With melodies of songs that express a certain feeling of love, longing, etc., now also a concern is to keep the character of the music for it yet as adequately as possible to his mood character and hereby to the feelings themselves, and you can ask whether or not the character is missed. It is the same in this respect with the melody of the song as the verse, which can be mistaken for songs of different content and not from any content. Contrast with independent music pieces, such as sonatas, symphonies, among others, it has no interest to ask, What are your feelings about it are appropriate and do not want to raise the vagueness to be lifted in this regard. You're not like the compositions of songs calculated to serve certain feelings of love, longing and the like to support, but by their specific musical and rhythmic relationships with the mood character, now it just hangs and does not even anywhere casual or purely due to a producible without music (live related) is to enjoy, no matter with what feelings

about this character mood could be related. To will recommend that would not only be futile in itself, but also dissipate the essential musical impressions, however, in the composition of the song, the vagueness and hereby takes away some of the rates themselves that the song among all the feelings, which, based on the composition could be, pronounce the one to which it is to be based and now also really relates, because the feeling in the song goes along really pronounced. Similar and partially coherent with the previous considerations are to be made, if requested, how the music was able to give the expression of some non-musical events, and be in the right to want to give him. (See above) we called Many things that the music has in common with the world outside of music, yes they can, as highlighted Lotze, have more general and higher so common in their rhythm and their relationship forms. In this respect and in so far now like is the case, it will also serve as a prelude or accompaniment to poetic respektiv dramatic representation of an event or an action even outside the music to match, from the four-fold aspects: first, the moments or the rhythm of this event insofar as it really is their assertion to bring so effectively displayed, secondly, the mood, which it hangs around, to support, to give the third single link of the specific musical element to the content of the action, this fourth through mediation, a common to make and reciprocal increase of pleasure at both possible. Of course best if these factors are met as much as possible in combination, but the first two, at which the characteristic of the music depends, can come up with the demands of the specific musical complacency in conflict, and you will then none of the two sides may grant absolute and sole right. Because would not be so characteristic the music when they einschlsse not also moments of musical complacency in himself or those at very dwindle could, they would, as they do, the attention just as well as the poem, and not merely according to their relationship to the poem in takes, easily bored and tired, while she, she wanted not to the content of the poem, to which she is explicitly set in relation to care, but only their own ways of musical beauty go with this content together a fragmented or grant even contradictory impression. Is it in the opera very fact that people talk more than sing, made a strong musical beauty concession at the cost of adequacy, is also related to the contents disappear, so you can hear, so to say, everything on, and it is virtually never gone to a full extreme in this regard. In between the music, must not, therefore, in the characteristic does not want to work, because they can not rise at all in it; their specific musical element and sometimes even their mood member engages beyond, and also presents his claims, who want to be satisfied. In the main, the characteristics will be to keep always the case that only those moments are brought to bear by the same, which also correspond to the intended mood character. But a certain definition of the characteristic in this respect from what is commonly discarded as tone painting, do not want to be found, and the reprehensible begin only where either this character or mood intended specifically musical complacency is no longer sufficient. Occurring independently in music is of course to put on any weight characteristics in

the above sense, because the task is not here to represent existing, somewhat outside the music or to support its impression. This does not preclude that you find Charaktergemeinsamkeiten of music with others, but you can leave the acumen to look for such and imagination to imagine such and did not seek the true meaning of independent music in it. If, as it appears well, one specific for an independent occurrence, musical composition but explicitly set by the composer in relation to poetry, drama or a historical event with the claims to perceive a corresponding impression on the whole, so this may at least the part of the character and atmosphere otherwise common moments up to certain limits may be the case, but only in a very general way, and the main impression of the music is neither a knowledge nor a guess of the cover depend on something other than the music. Entirely wrong in any case, be expected any music that she should still something that is not music represent. That it may have some interest especially in more significant, albeit independently occurring, musical compositions, to give them an interpretation beyond the music, proves in any case the fact that you meet such interpretations several times and also is explained previously possible reasons, that even the part Different interpretations of the same composition in the general character and some major moments coincide, but also the certainty that they (if they do not depend on each other) will be phased in very different determinations. The implementation of such an interpretation is always only added brought later to the music without vorzuschweben in their determination during the pleasure of the music itself, without it this determination to the enjoyment of need, and without it the musical enjoyment to exhaust, even without the specific musical enjoyment, which remains the core of the whole, to touch it. To explain the following example, the interpretation of a Beethoven symphony by Ambros (the limits d music and poetry. Pp. 32 46). "We have heard the C minor symphony by Beethoven. According to the mighty fighting and wrestling ransacked the passions of the first movement, in which, as Beethoven said," 'Fate knocks at the door,' "has the comforting voice of the hold Andante with his flute sounds vain endeavored to give peace - every triumphant recovery lost each time as bleak hereindmmernden fog shadows, unchanged forever and always returned the same musical sound - a painful look at the sky full of quiet resignation -. since started the bass in the third sentence as dark menacing ghost figures ascend to the world of light that showed us the Andante as far away, suits were loud laugh distorted pain, great around desolate end of mirth, the first modes of recurring, but broken as in it, in place of the full string sound matt pizzicato, instead of the pithy Horntones the weak Oboe - we arrived finally on to the darkest spot where the bass remained lying on As, while the tambourine in thumps restless to knock her C, the violins the subject hastily higher in a distorted shape and later moved up to the crescendo of the last eight bars of black curtain suddenly torn and in full triumphs of the incoming roaring we C Major were dragged into an ocean of light, in a cheer without end, into a realm glorious glory without limits - hardly that we shall return took a look at the subdued dark larval world, then in the us now developed light realms how to lose ourselves. We feel when the last chords out roars, in joyful collection as citizens of a higher world, the little worries of everyday life we

as in the distant future. " .... "The effect, which we have previously attributed the C minor symphony is not about the reflex of this work in the head of an isolated enthusiasts, it has - in fact exactly the same spawned by thousands, and where the word powerful artist or art lover put the word out about it, the sense of Rode's always been the same with all the variety of expression. way TE 0 Hoffmann s essay on Beethoven's instrumental music, Berlioz in an extremely witty feuilleton article in the Journal of debats so WB Griepenkerl (Art Genius German literature), as Robert Schumann (Collected Works Volume I., page 316), as BA Marx (the music of the 19th century p. 216). Yeah, when the triumphant exultation of the final issue of the Napoleonic disabled in the hall of Paris Conservatory jumps up and be loud screams vive l'empereur, so does this sound true nature of the chest of a brave old soldier just not say anything else. " An analysis of the previous interpretation of the meaning of Beethoven's Symphony closer, we find, is that it moves almost in a noisy living related mood elements, and only these can be, one of which is what the author says that the effect everywhere "exactly "been the same, however," the grim hereindmmernden fog shadow ", the" painful eyes to heaven, "the" dark menacing ghost figures "indisputably belong etc to what he called" summarizes difference of the expression "by implementing the atmosphere through the possible expressions will have a different design in each other arms. A young composer had the individual numbers of the first issue of Felix Mendelsons songs without words by the titles: means "I think of you, melancholy, praise God, happy hunting," and asked for M. whether he made the right interpretation. This said, if he was here thinking the same thing or something different from, he knew little to say. Maybe someone else will find in what the boom called melancholy, "I think of you", and a right sportsman wants to keep the "happy hunting" for just the "right praise of God." The rich expression of music and live and weave in regions where the word no longer nachknne etc 8)
8)

Here by Ambros letters page 71

Now make yourself, as with all aesthetic conflicts where it actually applies, as favorable as possible to weigh the conflicting to the advantage moments against each other and let only for circumstances more one or the other prevail, also in regard to the vorbetrachte-th points sidedness claims and a sole or excessive weight is on one side or the other, or characteristic based on which musical Wohlge susceptibility down soon. But it may be even less intention to respond to the conflict in the musical world about existing in more detail here, as this would include a musical specialist knowledge that I do not possess. It is undisputed that the vigor with which Hanslick makes the aesthetic law and the aesthetic value of an independent "musical beauty" against strange feeling impressions submitted to the music, full rights, and will be the previous

considerations, with those of Hanslick in this relationship Find all fours; here is common ground against the relationship, which can win the music out to the world of music, and especially the commitment, which has an accompanying music to the accompanying content, not sufficiently brought to bear on him. Especially decided Ambros is the one-sidedness of Hanslick's countered, but this fall the opposite bias of underestimating or rather disregard for the specific musical element. Even by changing the dispute has been taken in this regard, but I confess to be not followed the literature about it. Sensations of sound that can be very certain carrier association ideas, proves in the end notes to the words meaning, but music is just something other than poetry, arts and both complement each other in this respect, rather than to repeat itself. In itself, even the melodic and harmonic relationships of the music are not unable to arouse certain associations ideas, but even downright words can be represented as such prove some military signals, it just depends on learning and practice, but this is just only for such exceptional cases, otherwise nothing would undoubtedly prevent, for example, to replace the words father and mother by a musical fifth, and third or a major and minor chord to be equally well understood than now. One would only need to, enter the beginning of the child's parents rather than with the words father and mother or dad and mom on listening rather let a fifth, third, or one of the others and to show chord in constant repetition. Yes it could be even raise the curious question whether a musical language would be possible, which allowed, to hear the meaning of a poem in the bare vowel a gesunge-ing songs purely from the musical intervals just as well, as now, from the articulate words, and the same at the same time to give the melody of a song to mind, only indisputably vast practical difficulties would arise from a closer consideration here, which make it seem pointless to give these thoughts further consequence. Multiple one has the impression of vowels compared to that of certain colors and a certain comparability must take place probably because it at least as far consists in a negative sense, that no one the impression of u with the white or red, to the i to the will find the black or violet analogue, without finding an equally resolute opposition from other vowels and colors. Confesses to a comparative relationship at all, so one may ask whether it is directly or associatively. Probably composed of both legally, according to investigate to which common origin moments, the direct comparison is based, which we do not want to deal here. Associativity is obvious that there must be hauptschlichstem of influence in the word name which color and which color objects of vocal enters. The interaction of these different moments but in any case a large uncertainty of the color impression of the vowels to the result by different people express themselves very differently about it as far as they might say something about it at all, as evidenced by the following information. Myself makes s the very definite impression of a pale yellow, which I write it, that e occurs in the word yellow, and pale yellow more than any other has. But a not gives me the impression of black, regardless of it in the word black appears, and would make me probably just more the impression of white if not for the fact that it contributes to the name of the black, but against had, therefore, the impression

remains undetermined . Against this u might want to give me the impression of just black, but since it is not included in the word black, it gives me the impression of a rather gloomy, insbesondre green brown color. O maybe I should just get the impression of the blue but not blue as it appears in the word, this impression does not decide claims. The i seems to have most of the character of a pungent gloss. Dr. Feddersen has indicated to me that he knows a, e, gray, yellow fire i, o bluegray, black u think, Prof. Hofmeister (the botanist) i green, O red. Prof. Zoellner has informed me that his brother, pattern designer in a technical institution, not merely with the vowels, consonants, but also most decidedly the very notion of certain colors or Frbungseigentmlichkeiten connect a red (somewhat dark, decided), e know i metallic (silver, brighter than c), o dark blue (decided), u black (very determined), b light yellow (whitish yellow), c metallic (steel color), ivory d, f cherry brown, g white blue, h dark color (indefinite ), k indeterminate (bluish?), l whitish, brown, yellow, m reddish brown, n undetermined, p indeterminate q black brown, r reddish brown, s weimetallisch (sheet color), t gray blue (dull color), v vague but similar to p, similar to w m, x, y both decided metallic, copper-colored particular x, y, bright bronze, brownish z. Since c and z, f and v, k and q, i, and y, although the same sounding occur here with different colors character, it can only of ideas which attach themselves to the various uses and perhaps even to the different shape of these letters depend. After an other wide release of publicans Dubois connects Berlin with certain sounds are very notion determines the certain characters, such as clays with long supported the idea of a long cylinder, with the thunder of the cluster itself kuglich bulging figures of the the sharp tones of a star fnfspitzigen etc 3) The direct factor in the arts of visibility. Let us turn to the arts of visibility, so we have to deal with an underestimation of the direct factor in the fact that seeks to rely on considerations of the following kind. Factually and admittedly to form and color relationships can not just like the melodic and harmonic relationships of music to works of higher aesthetic effect which compose deserve to be called beautiful in the strictest and highest sense, if not a sense, is joined by a meaning that is the direct form and color relationships would reach. It is true that items of little or incidental aesthetic importance, as like a carpet, a wall of the room, get through color and form ratios of their surface, edges, patterns, direct complacency, but prove just the fact that they are raised to no higher and independent aesthetic importance to how low is low and the aesthetic power of these relationships; also probably one likes to see itself in such objects ornaments in plant and animal forms attached that will define their meaning through memory the impression associative. In actual works of art you can finally direct complacency towards the higher, which arises from the tethered sense of meaning, ever attach no meaning. In fact, so pleasing to the symmetry may appear in the kaleidoscope, it is still tolerated in either a landscape or historic image, because it does not fit the meaning

of the objects represented, whereas the largest irregularities that set us apart from their meaning only indifferent or could appear even displeasing, awaken interest in works of art by the meaning is tied and can be pleasing. Just as the coloring of the image rather determined by the demands of importance as the rules of color harmony, because so well also may be blue or green to red outside a picture, you can still face the red of cheek, not blue or green paint. The most common is of beautiful pure conditions of a structure, beautiful shapes and proportions of a human form, so even in the inorganic and organic architecture, the speech, and nowhere more frequently than here, the favor of dimensional and form relationships is made reckless depends on is tied meaning. But the temple tower and require other conditions than the palace and the house, the wife, the child other than the man who Adults, Jupiter and Hercules other than Apollo and Bacchus. So all the conditions for provision of construction material, by sex, age and character of the individuals need to change in order to be as pleasing or beautiful. They appear everywhere only pleasing to the extent that they fit the meaning of the objects, and beautiful, as long as they enter appear suitable to the expression of higher and appealing ideas are the same, not by their own charm which rises rather in the higher stimuli or disappears against the same as just refer to the fact that they like to stop anywhere where they cease to fit. Because they never fit perfectly, so they never even come completely clean on higher style in works of art. As can be seen in many religious paintings an approximate symmetrical composition, never a complete one. The artist has therefore ever to abstract from the consideration directly pleasing proportions, and just take care that the shape and color relationships that he uses fit the intended meaning and the meaning was a congenial self, regardless of whether the representation of the same related conditions in themselves are pleasing or not. In this respect a term of one makes the meaning of the items, you can also say: only insofar as a form satisfies the notion of what it is supposed to represent, it is considered aesthetically, and so Boetticher says in s tectonics of the Hellenes "body shape , all abstract viewed, can be neither beautiful nor ugly., the criteria of physical form is the analogy with the terms of the essence, the function of the body. It is always the form which the inner terms of the same at follow most right and most heartfelt equivalent, and its . entity in the external appearance ethically (mentally modestly) represents the truest and most striking, the most beautiful Thus, when training a form is mentioned, this can only mean so much, as: fully develop their scheme technically plastic for their inliegenden term. " As little as the last, of a one-sided point of view guided considerations make or exhaust the right focus, they remain in so far as cogent as they contradict the opposite sidedness by it will remain everywhere impossible to the beauty of visible things alone or only from higher viewpoints through forms and ratios to explain the fallen ruthless to be tied meaning, but they suffer from two fundamental mistakes, even the fact that the undeniable pleasantness lowly character, which have many forms and ratios per se, by appropriate entry into higher relationships to their aesthetic effect to disappear, because rather this effect by the auxiliary Prinzipe reciprocally increases with the higher action, and secondly, that, because in itself pleasing shapes and

relationships we begin to displease when it involves a meaning that should correspond to a idea whose representation they are to serve, do not fit, so it only in accordance with the service that they provide the idea, only to fit their sense of meaning can contribute something to please even with compliance, since they rather favor this through their increase their own pleasure value, and indeed increase after that Prinzipe more than you would have to close their performance for themselves. In fact, when the auxiliary aesthetic principle has proven in the works of poetry, music as well as nature everywhere (Section VI), why should it in works of fine art and architecture, its cogency and validity fail. Rather, we may assume that also in the areas of arts forms and relationships that are outside of a work of art, if even only niedres, low or comparatively to advantage coming, give pleasure by their peculiar nature, the uncontradicted entering into the purpose and motive of something effective for the beauty of their art works will be able to contribute, not only insofar as they serve the purposes, motives, but also provided purpose, and their motive is simply no other use. Only they may contradict the purpose of the motives of the play to bring its meaning, the sense around the sichs is not because they occur not as a condition but as an obstruction means of pleasure, which depends on this factor. On closer inspection there is now, however, that such a contradiction in the works of visual art easily and more frequently occurs as in works of poetry and completely to the music, which is not rejected much of associations that therefore not easy so mere education directly pleasing proportions by the works of visual art is possible as of meter, rhyme through the works of poetry, Clock and well-Loud through the music, and from this, however, a more limited applicability and more limited importance follows directly pleasing shapes and ratios in the visual arts than in poetry and music, but not vanishing, there still remain numerous cases where instead. Contradiction between the direct and associative tive factor of agreeableness it was full or partial correspondence between the two is in the limits of the beauty can be enhanced by the pleasantness of the first, so it belongs to the demands of a socalled good style (if already he not based only on), the less preferable due directly wohlge-feel-good, the shapes and proportions, it is because it is compatible with the sense of adequacy, appropriateness, meaning even if the same non-essential calls. As seen in the Sistine and Holbein's Madonna, the Leonardoschen Evening grind and countless other images of religious art performed the symmetry in the Hauptanord-tion so far as it is compatible with the purposes of the representation of a lively scene, without thereby substantially required to be, and you would feel a discount because in a considerable loss of complacency. And even in landscapes and genre paintings, where such a far-reaching implementation of symmetry would the sense contradict-ing, the painters make it to a certain balancing of the masses of the kind that is not the main content too fall on a page, without this by Rear view of a mind in itself would be limited. Interesting to me was a striking violation of this rule in a burial by Titian (in the Gallery at Verona), where all the characters find themselves into a ball on the left side of the image (based observer) agglomerated, which is to the right, almost empty

string tapers, which makes a very unpleasant impression. One can see a certain contradiction in the fact that even a small deviation from symmetry in a rectangle displeases us, while the approach to a symmetrical arrangement in a religious image of us probably like that but basically a much larger deviation from symmetry than those ans is displeasing to the rectangle. But it comes into account the fact that we make a comparison with the full symmetry of the not quite symmetrical rectangle with religious picture not quite symmetrical but rather the very lack of symmetry of the images, which are just that as a deviation from symmetry, as this approach of symmetry, that an error, this seems to be a profit, of course, there is naught where the adequacy of the approach contradicts. Even the coloring is determined with good pictures not only by the adequacy of sense, but seen the fact that the picture was not held irregularly spotted, dappled, or in bright contrast to insignificant or monotonous in color as a whole, because everything apart from this all meaning like less than a certain gradation and variety of tones without abrupt transitions when already strong demands of the sense exceptions may cause thereof. From this point of view makes a painting from afar, even before we recognize its content or if we abstract from it a more pleasing impression than the other. To facilitate this abstraction and assess an image as safer in regard to its mere color effect, giving some the rule that the same be considered in an inverted position. Now meets together a pleasing se attitude of coloring all the demands of the mind, the result is a success of the auxiliary principle a charm of coloring, which gives a high aesthetic value of a picture, but of course the aim of many artists even at the cost of the demands of the mind will. In this respect, the ratios of the larger color masses for the total color effect of hauptschlichstem issues, including the colors of the robes in which a certain freedom as to the adequacy consists, like so chosen that pleasing color relationships come out of it, unrelated to the meaning of the image significantly have to create. In general it can be noted: first, that idea, purpose, meaning without prejudice to its essential or most leave the main aspect of considerable latitude in the application of these or those forms or conditions, which you can use to advantage the pleasing to directly preferable, or that much of the same turns out that often to subordinate or ancillary provisions as you can modulate the idea to be represented, the purpose, the meaning that they give to the application rather than the wohlgeflligeren ungeflligeren relations opportunity. Second, that if ever idea, purpose, meaning by main aspects are the higher demand, which the consideration for direct complacency must yield, but often has to enter the reverse of subordinate regulations, if an important advantage of direct complacency by a small disadvantage of the adequacy can be bought for meaning or sense of complacency. Thus, even a less favorable thoughts turn must in a poem be preferred if the are more favorable to the rhymes and meters certainly do not want to attach, and can be also usually pass through in the architecture of the symmetry of the sides of a building even if same are of a different provision which according to general principles of art rather prompts to an expression of the inner difference by symbolically or ideologically related external, without ruling out the fact that there must be also buildings in which the symmetry is

completely restored to the vast associative motives. You can thereafter not deny the factor of direct complacency even in the higher arts of visibility its importance, it is growing but the same when we go down from sculpture and painting to architecture and from this to the art industry or the so-called technical arts and ornamentation, by accordance with this going down one side of the associative factor itself loses significance in relation to the direct, on the other hand, readily enter the direct conflicts with the associative less. Especially wins in these fields of art which vividly linked diversity increased importance, whereas the symmetry, the golden section, the regular pattern, the wavy line, the volute, the meander etc are what everything in the higher arts of visibility can easily be missing, and from stated reasons usually must fail because of the vivid associative link has therein by the idea. But even luster, purity and saturation of color, pleasing combinations of color play in the low visibility of the arts a more important role than in the higher, the lower benefits which only fail in order for it to offer higher.

XIV Several attempts to set up a basic form of beauty. Experimental aesthetics. Golden section and square.
1) Attempts to establish a standard or basic form of beauty. After the one employed in the previous sections, considerations, the question becomes more general interest, which form and color conditions in general depends a preference of complacency ahead of other reckless on purpose and meaning, briefly Association, can take advantage of, and what conditions should be preferred. Also has the interest of this question to be merely pursues here in terms of form relationships, already sufficiently proved by the fact that an investigation by many of more or less general or specific aspects has been hired without been certainly been attacked adequately to be and to have delivered results zulngliche. Rather, the previously employed by more or less inadequate principles and methods of investigations have mostly only a one-sided or exaggerated preference for certain forms or form relationships as a general normal forms or normal conditions of pleasantness or beauty, like the circle, the square, ellipse, the wavy line, the simple rational ratios of the golden ratio out, where only one condition-wise preference or a preference must be afforded all within certain limits, which it is right to weigh rather than to generalize indefinitely.But in many cases it has meant to agree with such forms, the beauty of visible objects, so to speak, without the much more important contribution of the association to either at all or in other than to draw extraneous consideration, and both factors to divorce law in the investigation, that, apart from some Zeisings, though not singular free, but in some respects more valuable by its result, investigation, all those attempts basically have only a historical interest. The county name has been regarded since ages as the line of perfection and beauty hereby, whereas Winkelman has examined the reasons for the sentence and "The Line of Beauty is elliptical." - Hogarth placed in a plane wave line

wriggling and squirming in space as serpentine line of beauty and charm, besides which he still popular with artists as well as pyramidal preferred form of the grouping. - The Square and even the ratio 1 : 1 has recently been taken by Wolf in contrib see eg aesthetics of architecture as the lowest-faliches and hereby aesthetically most advantageous dimension and division ratio claim, however, others, such as name Heigelin (d Lehrb. .. highly architecture), Thiersch (Lehrb. d sth), Hay, etc. In this respect, more generally, the simple rational ratios at all 1 : 1, 1 : 2, etc, some consideration of the fact that these conditions consonant than vibration conditions in the music prefer. Zeising makes the golden section ratio not only as an aesthetic standard ratio, but even as most general design relationship of nature and art claims and seeks the same insbesondre by the structure and breakdown of the human body as the most beautiful architectural works carried out. Even some views that could only find mention here for the sake of curiosity (Rober and Liharzek), is intended in my journal "for experimental aesthetics". The concept of of Zeising and since Zeising so much discussed golden ratio based on the fact that the smaller dimension of an object is the greater, ie z B when you right corner the smaller side for larger acts such as the greater the sum of the two, or if it is at the departments of an object that the smaller section to the larger behaves as the larger the sum of the two or the whole. The smaller dimension or department, which enters into the relationship is called from Zeising Minor, the larger major. If we examine now what relationship the minor must have to major in order to meet this condition, we find that it is actually a irrazionales ratio as that of the circumference to the diameter, but which in a crude approximation in whole numbers already by 3 5, sufficiently close to the eye by 5 8, further increasing approximations by 8 13 by 13 21 u s w can be represented, approximations that can be arbitrarily increased by the fact that the greater number of each antecedent approximation to the sum of both in sets ratio, yielding 21 to 34 f us, comes. The exact mathematical expression of the golden section ratio is given by a quadratic equation equal to what the upper sign the ratio of major to minor = 1.61803. . ., The lower the ratio of minor to major = 0.61803 ... equivalent, so the above approximations agree more so the higher they rise. The golden section ratio has a number of interesting mathematical properties, their composition occasionally in my writing: is given "to experimental aesthetics". The error, which (though not every one of each) ratios are commonly committed in attempts to set up an aesthetic standard, the following can be mentioned, that would be easy to demonstrate by specific examples. a) It builds too much on theoretical previews, which are of insufficient evidence or binding force, preferably about the principle of unity of the manifold or vice versa, says conditions that appear as vibration conditions musically pleasing to even the field of visibility as to translate such, or believes himself to be able to find in higher philosophical points as a guide b) A distinction in the experiential study

that which comes at the expense of associative complacency, not enough of the things attributed to the direct. c) It shall direct particulate conditions to agreeableness in a general and exclusive meaning. d) It takes into account the experience preferably only applicable with the proviso cases, s) is kept at too complicated examples, influenced associative and combinatorial as especially the human body and buildings in which not only the pleasantness of occurring because forms and conditions is, but also in its multiple dimensions, and some very vague departments of arbitrariness more or give less room, what you see as the main relationship and how you wish to put the measure. f) It failed to provide the simplest possible experiment under conditions whereby the conclusions that can be drawn from observations may be led to a safe decision alone. In fact, it can be successfully different ways of experimental aesthetics to the determination of legal relations in this field and to determine associated questions here follow what my signature: "For experimental aesthetics" (Lpz. Hirzel), published by the date only the first part is to find more info. Here's a closer investigation it would take too long, but I give below 3) at least one example of the application of the here relevant methods with the resulting draggable results after previously taking 2) some concerns are taken into account, which compared studies in this direction at all to and let rise against the usefulness of the results to be achieved thereby, would be to meet them, not to let this whole field of investigation from the outset aside. 2) objections that can be raised against the usefulness of experimental and aesthetic studies at all and act the same. Following objections to pay attention to those here: Thought like certain forms and relations isolated a certain preference of complacency betrayed before others, so they are never isolated for use, but always with neighboring forms and conditions, it is of the same object or environment, or registered with them or they intersecting forms; any form, but each relationship is influenced by the impression of a direct or associative relationship to form and proportion, which are with him in connexion believes (clause 12 Section IX) what I have called the combinatorial participation, so that what is pleasing in itself, can appear unaccommodating or vice versa from other forms and conditions by the composition of its effect with, or are one and the same, depending on the different combinations pleasing or appear an unpleasant, as, for example, a circle appears more pleasing in a square than to a square, a circle, an ellipse fits better into a square, an ellipse, however, better than a circle into a square, etc. What good is it then, can be said to know to be pleasing to the forms and conditions, when they are in the uses can not hold, but any new manner of use will change the result. To this must be answered: a) that in most uses of a certain shape, a certain ratio has a dominant influence by determining the main character, the main ratio of an object and the attention vorwaltend attracts before an indifferent

environment and subordinate side parts. b) As regards in particular the influence of the environment, as in works of art is usually framing and, so far as practicable, deliberate manufacture of an indifferent neighborhood accomplished isolation artificially, while the environment changes randomly with many other objects, which compensates for the combinatorial influence on the whole , for as often as he does in a favorable than unfavorable sense, the advantage of direct complacency, as he is without combinatorial influence remains, on the whole striking. c) extended this respect, the large influence of the composition of a shape with other shapes on the agreeableness but neither deny nor eliminate everywhere, is rather to use to the best advantage, the task of an investigation into the circumstances of direct complacency will not abolished but by now applies also to determine the influence of these compilations, as in general only by the clarity and success to bring this part of the aesthetics that explores what makes each condition, and what each is apparent from the combination with others. Now are also ways of combining countless, yet the laws are not exactly the same as countless, so the investigation has to focus mainly on their determination. d) The influence of direct complacency a form far to see all changes associative and combinatorial participation as constant as he himself when he is beaten by such codetermination of starch in the same direction or the opposite direction, always it comes as an auxiliary weight or counterweight in consideration, which directly wohlgeflligere form always stays in advantage against the right ungeflligere, it is that both fit equally well or equally bad to the environment, and the right equally pleasing to say so has only to overcome a difficulty, to allow a direct wohlgeflligeren through better was Beware of complacency but to do previously, a difficulty that can be possibly too large to overcome. Also go as already touched on above, the Mitrcksichten and ulterior motives, can that cause to deviate from the direct pleasing to form and proportion, even if not as that pleasing to direct in all, but in most cases, much the same mainly in various directions, forms and relationships always have their value, so to speak as aesthetic centrality keep from which the opportunities offered by Mitrcksichten deviations are to be pursued, and return which, as provided is as the co-determination resign. As it is important now for the doctrine of the case to know the gravity of each type of bodies such as the methods of its determination, it is important for the doctrine of pleasure in the forms for each type of them, which can make itself as the main form, it such as rectangles, triangles, ellipses, wavy lines, etc. The aesthetic center, ie to know the most pleasing in itself directly or form. By the observation that formation condition, age, gender, individuality can have an influence on the aesthetic preference for this or that relationship, the circle of investigation is only enhanced by it is that to consider these factors in consideration, and partly obtained by all Radical, partly the Modifying thereafter determine, insofar as it is but short phrase, what is average for adults of medium and higher levels of education, to favor of what is true for the child

and the rude people. After all, one might the practical benefits of research, as they are presented below in an example, not high strike, remain the feeling of the artist rather in any event, the application of the surest guide, but to control some aesthetic views, assertions, theories are I believe it is of great advantage, and the art industry is likely but can also draw some practical advantage. It can also serve in a certain respect for taste testing of individuals and aesthetic statistics, like me. In Scripture for exp Aesthetics p 605 ff and discussed the "Report on the laid at the Dresden exhibition Holbein album" (Br and H. 1872), have, without going into detail here on. 3) Experimental methods of aesthetic investigation. For example an embodiment of the method of choice. Results particularly with regard to golden section and square. Mentioned in Scripture for more exp. sth. P 602 I put on three methods to use in our field study, which I distinguish as the method of choice, method of manufacture and method of use. After the first allowed to many persons between, in terms of their complacency to compare, choose molding or conditions that produce after the second most pleasing to their taste by themselves, after the third one measures occurring in the use of forms or form relationships. All this with precautions and considerations for the greatest possible avoidance purpose under 2) error, which I must refer to the font itself. All three methods have to check the result as possible. Here I will limit myself to cite an example of the execution of the method of choice with a check of their results by the method of use. For guidance on the specific purpose of this investigation is to preface But some. From inception, can stand as a very general principle of direct form of complacency formerly discussed the uniform combination of the manifold by the same mentioned except the symmetry of the other (Sect XIII pt 3) forms and conditions, which plays a benefit direct complacency informally subordinated to, . Meanwhile, this can be generally valid principle besprochenermaen large uncertainty in the individual space, and could one advantage of the relative complacency of those forms and then not a priori predictable. Take for example the square in comparison with the rectangle. In the uniform square relationship of the parts by the equality of all sides, all angles and all sides the same symmetry relation to the center is made more perfect than in any rectangle, but the multiplicity of the smallest. The principle can not decide whether won more than is lost by the reduced unit in the square by the increased manifold. Suppose a, formed by the golden section rectangle in comparison with other rectangles. The first is to the last thereby in advantage that it includes a higher unity respect than this, and it can probably be assumed that this also an advantage of the complacency win because of the other well-

Compliant wedge conditions of the rectangle nothing is hurt by this, but since higher unit covers heavier comprehensible than lower, the question arises whether this advantage is significant, or even noticeable, and completely does not ask whether dividing a length for the golden section by injury of the lower but falicheren symmetry Bezuges lost more than they'll win. Also on these issues can not be decided from the principle of unified link of the manifold, and when it was believed to be decided by philosophy about it, so the uncertainty of this path proves the fact that the result found to be generally valid in at the same experience is not quite as generally true. Also may be asked if I'm not the principle of consonant musical vibration conditions in consideration, and one advantage of simple rational ratios make the rectangle contends 1) , without the analogy alone suffices him to prove. Now that you make on the basis of Helmholtz's researches in the music of the Konsonanzverhltnisse ratios of the harmonics depends on which an analogue of a rectangle with sides missing, can join these course from the outset not as think as before. By aesthetic experiments, however, a safe decision of these questions has be found that neither Wolff; completely coincides Heigelin yet, still Zeising. To compile the results anticipated, there are the following, while not communicated folgends all, but part of the larger, emerge investigation, however, is to refer for the other mentioned more in the future continue writing. a) In all the square rectangular shapes with the rectangles standing next to him on the one hand and the very long rectangles ungeflligsten the other hand. b) The square seems to be surpassed even by standing next to him rectangles to complacency, or at most a doubtful advantage over them. c) The simple rational relations which correspond to the vibration conditions have the musical consonances, expressible as the aspect ratio of the rectangle no benefit of complacency before, less in small numbers, musically dissonant conditions. d) The molded by the golden section rectangle with the neighbors are rectangles, in fact, an advantage of complacency ahead of the other rectangles. e) However, a small deviation of any of symmetry does a rectangle of its complacency much more crash when a relatively much stronger and noticeably disproportionate decided by the ratio of the golden section, and at all the advantage of it is less than that of the symmetry. f) In regard to the division of a horizontal (the line connecting the eyes parallel) length is the golden section ratio at a decided disadvantage to the equal division, where we have one more example noted by the (Section VI), the case that by rising to a higher unity UPHOLSTERY under certain
1)

circumstances, the loss due to injury of the lower can not be compensated. g) In regard to the division of a vertical (or more generally on the connecting line of the eyes vertical) length favorable division of the longitudinal beam changes after attempts to connect crossing according to the conditions of the cross beam, is at the most favorable conditions of the crossbar to the longitudinal bar but not the division according to the golden ratio, but according to the ratio of the loser to prolong Part 1 : 2 is the most advantageous. After this I can not help but find overestimated the aesthetic value of the golden section of Zeising, so I must be the interest and merit of Zeisingschen discovery that this ratio plays at all a remarkable aesthetic value, do not deny, indeed explicitly see a discovery therein. Also, I will not deny, because my studies are not extended far enough to make a general absprechendes judgment in this regard that, under particular conditions, but only to identify and formulate more accurate would be an advantage of the golden ratio itself can make money as a department submits especially likely when a divided according to the golden section length connects symmetrically to another. It is certain only that the aesthetic advantage of the golden ratio is not so easy to accept, as he is offered to us by Zeising. For immediate initiation of the experiments, the following observation. Suppose you put somebody an exactly rectangular and slightly warped rectangle before, and asked him what more he liked regardless of the different applicability of the two forms, he would not for a moment be present to prefer the exact rectangle, and one on this simplest way a surer result about the advantage of symmetry as a by-reference to complex applications where the complacency is also determined by associative and combinatorial constraints. The golden section would now really the ascribed by Zeising great advantage would ever a rectangle relationship before the other a very decided preference, then this would have to prove in a correspondingly simple comparative experiments with it, or it would just not a corresponding advantage available. Although existing one but less decided advantage but would have to prove by a unexceptional but decided not equal on average compared to many cases overwhelming preference. This is the general point of the trial. In order to give the same but just a certain extent, became so process 2) .
2)

A series of experiments where only two rectangles (not cut from cardboard, but are compared in black outlines on white box) with each other, the number of which is scheduled for equal intervals of side conditions, and the longer side of the line connecting the eye is just as often presented in parallel than perpendicular to it, as a corresponding series of experiments with ellipses, where instead of the ratios of the sides of the axes are concerned, although I have tackled, but not yet widely implemented. - The above series of experiments to be communicated has not yet been published in the first part of

the Schr for exp. sth. included. 10 rectangles of white cardboard from exactly the same area (= a square of 80 millim page.) But different aspect ratio, the shortest of which is a square with the side ratio of 1 :1, the longest in the ratio 2 : 5, between even the golden section rectangle with 21 : 34, were spread on a black plate, in each new tests (with a new subjects) in a new random order, crisscross in different position angles to each other. So they were in the course of several years people from different, only getting educated, stalls of verschiedenstem character without Such selection, which be trusted anticipate a good taste 3) , as of 16 Age years on how such occasional darboten to the experiments presented, and asked the question of which of the various rectangles with the greatest possible abstraction of a particular manner of use, make the pleasing to impression, often linked to the question so that the wenigst cheap. The preferred as warp judgments were summed separately for male and female individuals, and thereby obtain the numbers given in the following table, which should be noted that when a person is between 2 or 3 rectangles in the preference or rejection varied, these each 0 were 8 or 0.33 recorded, so that it was each person as a whole with one in an experiment into account, hence the (partly caused by multiple summation) and strength with the numbers. Of male individuals are of such shape as a whole 228 of 119 female, 150 meters of warp judgments. and 119 w. receive. The quadratic relationship is by name with , and the golden section ratio by name with O especially singled out.
3)

This is from the triple points, that the judgment on the liking of others is a very subjective, that the determination of the average degree of complacency ruthlessly differences of taste has its own value, and that as a bad taste of the good just as can often differ by one than the other direction, it is hoped to get the average of many cases without distinction of taste but at the same result as if you zuzge only persons of good taste.But by the way the judgments of individuals are seen to have a very good taste, respect, obtained at the same time an opportunity to examine whether really is so presupposed agreement. Table of the experiments with 10 rectangles. ( V aspect ratio, Z number of preference judgments, z number of warp judgments, m. Male, w. female.) V Z Z Percent Z m.
1

w. 4.0

m. 36.67

w. 31.5

m. 3.74

w. 3.36

/1

6.25

6 5 4

/5 /4 /3 / 20

0.5 7.0 4.5 13.33 50.91 78,66 49.33 14.25 3.25 228

0.33 0.0 4.0 13.5 20.5 42.65 20.21 11.83 2.0 119

28.8 14.5 5.0 2.0 1.0 0.0 1.0 3.83 57.21 150

19.5 8.5 1.0 1.0 0.0 0.0 1.0 2.25 30.25 95

0.22 3.07 1.97 5.85 22.33 34.50 21.64 6.25 1.43 100.00

0.27 0.00 3.36 11.35 17.22 35.83 16.99 9.94 1.68 100.00

29 3

/2
21 O

34 / 23 2 5

/ 13

/1 /2

Summa

Before discussing the results of this table I say only how the people behaved in the experiments. Most explained in from the front, depending on the use of this or that would be the most pleasing square. I admitted this, but asked if they did not but apart from all consideration of purpose and meaning that one of these rectangles virtue of his other relationship could be found pleasing, satisfying, harmonious and elegant than the other, and that they as the average most pleasing would prefer the form 4) . Now, three cases were possible. Either all or the greater majority refused thereafter a judgment as to find no difference, or indeed judgments were given, but scattered indifferent between preference and rejection of the various rectangles, or it was found after totalization of all cases that a certain kind of rectangles had such a large overweight in the number of privileged, even such an order came out in the order of Preferred that this could not be made dependent on chance. Despite the requirement not to think of certain uses, but thoughts like about those who participated in part involuntarily at the judgment, without a whole can be grown from a big disadvantage, because through all uses of the relative advantage of the complacency of the various conditions makes itself asserted, but the codetermination must be compensated by close their different directions as a whole. The result was this: Only in very few cases, a judgment was completely denied, but only in a few cases, although there were some which the judgment was very decided and secure.Usually longer held sway, and if they had already decided on a rectangle, sometimes subsequently moved in the same attempt correcting, yet another one remained before or between two, three or even four rectangles swaying 5) . If the attempt with the same people at a different time after the appearance of the former had gone out, repeatedly, as it happened a few times, it was the former rather than the early attempts often another rectangle, the preferred conditions to neighboring. Despite this uncertainty in detail but the above table shows very definite
4)

results as a whole.
5)

The precipitation of a preferred judgment was made easier when you could just discard the ungeflligsten rectangles. In fact, you will not notice without interest, such as the golden section from the preference numbers Z decrease to both sides, the rejection numbers z increase to both sides, and that both in male and female individuals, and that the percentage ratio of the Z to the total number of O at m. and w. is almost the same. This table extends out of the above sentences, the sentences a, b, c, d, e to prove, one must be careful only to abgewinnen want her more than she can give. If you wanted to design a curve of the pleasantness of a table such as would not only the aspect ratios of the stand on consecutive rectangles in the same ratio distances from each other (ie their logarithms to the same arithmetic differences differ from each other), but also the number of tested rectangles above and below the golden section to be equal to each other, both in the above table is not the case, but deserved to be observed in any resumption of these experiments. That it does not happen in the previous experiments, had the ground that it was my first close, to check whether the consonant in the music conditions really prove to them repeatedly ascribed aesthetic preference, and that I as to the preference of the golden section, the suspicion wanted to rule, they belong rather to its central position between the rectangles in the experiments as to its merits shape. But you will be able to say after the results of the table show that the the golden ratio (21 : 34 = 1.6195, = 1.6180 accurate actually) enclosing rectangle of interval ratios, which ranges from 1.558 to 1.692, about 1 / 3 (or more precisely 35.17 p. C. united as a means of 34.50 and 35.83 p. C.) of the total preference judgments. One has namely the number Z or z think that comes right corner of the table a written, distributed to the (logarithmic to be determined) half distance ratio between its neighboring intervals. Notwithstanding the asymmetry of the rectangle row on either side of the golden ratio but are conspicuous by the neighboring numbers of the golden ratio on both sides of both male-and weiblicherseits nearly equal to what me as I confess, is theoretically not clear how it can be brought about . Moreover, it is interesting that, as far as the passage of complacency curve can be predicted from the table, the male and female curve peaks at O coincide, but intersect in the further course by the O only little from the female percentages, then greater than the male appear. The course of true judgments rejection by its opposite transition well with the preference judgments together, and while Z is the maximum at O , z is zero here. Only the square itself is a mismatch by the Z while falling more and more out of the square, the square itself but rise again something that seems to suggest that the square is slightly more pleasing than its nearest neighbors, whereas z is the lower maximum Ungeflligkeit drop on the square itself. But I have reason, the last-named result for authoritative as to maintain the first, for the favor of the square part of some people seems to depend that they mean by theoretical preview, the square must be the most pleasing because it is the most

regular. In fact, some people said this almost as a reason for their preference dividend on, yes it happened that one person said, would actually probably the square are considered the most beautiful, but it could not make it preferable, but chose another rectangle 6 ) . Against this it was interesting to hear the manifold motivations of rejection of the square, which came to light in the course of the experiments, they declared it to be the simplest, the driest, most boring, which flopped, and a witty lady, E. v. B ., which did not fail to favor (as you all experimental subjects unknown) golden ratio, characterized the impression of a square than a "homespun satisfaction".
6)

The Blind Dr. von Ehrenstein, musical composer, I , 5 : 6, 2 : 3, O , 13 : 23, 1 : 2 presented, preferred after Tastgefhle and 13 : 23, which for the latter he still more pleasing than l : 2 explained, but by keeping it for this. Apparently here also played the theoretical pre-view of the values of the musical konsonirenden conditions play a role. Also some other rectangles characteristic utterances were done on the occasion of preference or rejection. Miss AV, of very good taste, called in favor of O , the two longest rectangles 2/ 1 and 5 / 2 "reckless forms" and declared the short 6 / 5 by solidarity with those who rejected it, "common" for. The blind Lord yes v. Ehrenstein called it according to the instructions of the Tastgefhles a "hypocritical form", in the same rectangles was blamed on several occasions that it almost look like a square and it is not one. Buchbinder Wavey said, under varying preference between O and 2 / 1 3 / 3 , of the shortest forms 1 / 1 , 6 / 5 , 5 / 4 , 4 / 3 "they have no money." A lady took 2 / 1 before, "because it is so slender." The golden section O was told by several people in the preference for the "classiest" relationship. On the whole, I can say that the golden section is preferably preferred by any person to whom I also incidentally zutraute a good taste, of course, also often one or the other of the two adjacent. Furthermore, the preference of judgments were O in general, to those where the person betrayed the least uncertainty. Yes, there were some who preferred him with utter determination. Possible, however, that in accordance with decreasing educational level increases the square of relative complacency. In most experiments made with 28 artisans various industries were the most preferred right corner of the golden section with 7 and the square with 5 preference judgments, only that here too theoretical preview played a role in several respect of the square saying, "well this is the most regular ", also took the square under the warp judgments, the second point, namely, with z = 4, while 5 / 2 with the first z = 13 If one young children just the two shapes O and < , of equal surface areas, from beautiful colored paper, as dear children, before, not with the question of what pleases them best, but with permission to take one of them so they resort to clumsy one or the other, without that it seems to make a difference to them, and without that, finally, a significant predominance of the Z stays to one side. That's how it was in experiments that I made inquiries in two toddler-care institutions, observing the

caution, the position of the O and < to move left and right with the different children, lest the preferably access with the right make a difference, and O with the long side as often to put the line connecting the eyes parallel than perpendicular to it. Now indisputably the complacency ratios of the various rectangular shapes must also enforce in the applications, except that some purpose, some combinatorial influences act more like other abndernd. In fact, however, it is found that as far as no counter effects arising from such influences, the golden section ratio and the related rectangles are preferred, however, the long rectangles and squares with related rectangles are unpopular. This teaches even the raw visual inspection, but also I have many measurements on whole classes of rectangular objects as they occur in trade and commerce, hired, which confirm it, but the I get into any more detail here, to merely following results are generally short to mention. You only need the average occurring library books, print formats 7) , writing and letter size paper, cash tickets, cards, photographic cards, wallets, slates, chocolate and bouillon tablets gingerbread, toilet boxes, snuff boxes, see bricks others to immediately by the golden section to be reminded when the ratio has the same sufficiently imprinted by intuition, and find value in measuring individual copies of these classes, they usually something soon on this side, now differ only slightly beyond the golden section. print format I understand the rectangle, which occupies the print on a page of a book. Show some kinds of rectangular items namely through this or that constraint a deviation in constant or near constant unilateral direction from the golden section; this, but it is then generally another kind of the same objects by virtue of a different constraint to the opposite direction is different, so that the golden section in between remains as the center of the deviation. Thus German playing cards are a little longer, French slightly shorter than O , the octave-print formats scholarly books almost always something longer, the children's book slightly shorter than O almost exactly was, however, the measurement of 40 Novel formats a lending library in the middle of the golden section. Folded letters, after which the envelopes were addressed, as I find from numerous measurements, they were around 50 years on average slightly shorter, now they are more than O . Business cards are, because they have to stretch the length of the name, on average, slightly longer, address cards of merchants and manufacturers, where several lines to build on each other, slightly shorter than O . however Against expectations are measured in the lights of the frame gallery images verschiedenstem of content, where both the height and the width where the height exceeds the width, not insignificantly shorter than average O , the conditions under which the contents of images for maintaining this ratio can not be an average of the most advantageous 8) .
8) 7) Under

The average of ratios I understand always the ratio average; derived so that I take the number in the logarithm of the arithmetic mean of the logarithms of the ratios. Hereby consents to the median and densest value to which you can

also reflect, not all together, but what enter into any detail here. The Ungeflligkeit of < proves himself in the applications generally with the fact that despite the theoretical prejudice, which, as we saw, is concerning the same, and despite its simple design, the same way is used only exceptionally. Also, one need those items which have been cited as evidence for the preference of the golden ratio, to think only square thing. Purpose by the same would be permitted to receive the impression of the Ungeflligkeit At the same time seems to prove themselves in the applications that the square still an unpleasant than the rectangles close to him, in fact, by those still generally prefers deep down where ever you go with the situation. Although the lights purely quadratic gallery images occur, but very rarely, whereas portrait images to approach generally square though, but are always slightly higher than wide. The print format is in so-called fourth in the rarest books at all, but is not purely quadratic, but as you can convince yourself, always slightly higher than wide. What would have prevented a pure < preferable if a complacency to gain that advantage. In chess box, sugar bowls and some other high box I have often said < close, but just only found near the form when viewed from the top surface. Head and seat cushions though you probably will always pure square, but that depends on the purpose of consideration that no material is wasted space and useless by berragung on the part of the body, where they are used to pad to one side. If Wolff and Heigelin assert that the square yet come into use in beautiful buildings in plan and elevation, it is first and foremost to note generally that architecture objects because of not easily missing Mitspiels of purpose considerations and combinatorial considerations at all very carefully to the discussion the pure complacency question may be drawn, without wanting to ever exclude it therefrom; particular, however, that those cases to which W. and H. appointed, very Seline exceptions and as such but rather against the than for the pleasantness < prove . We go to the question under consideration required to co-determination in architectural objects closer by, so the Ungeflligkeit betrays itself by the following remarks < also clear enough. It is common ground that the golden section in length considerably exceeding the form of ordinary home and office doors by setting a reference to the human form due. For doors palace-like building, which will serve not only to the passage of people, but at the same time as driveways, but such a relationship falls away, and would not be an obstacle to make it square, if herein would be an advantage of complacency. You never found but in palaces, but only barn doors are pretty square according to appearances, where the consideration for complacency is not decisive; also be telling everyone that such a form of a gate would not be tolerable in a palace. For windows wonders if not their close and parallel to each position has a combinatorial effect on their aesthetic relationship, and does not have to change this depending on their proximity to each other, what is still quite lacking in experiments. Also, the lights in the windows of the glass, the window opening in the wall, and the wall facing the window will be particularly observed. Let us keep first

to the wall opening, we see the same generally not very strong swaying to the golden section, in any building but what makes claim to architectural beauty, provide the impression of a square, except perhaps in the basement or highest levels, where then they also contribute to a change with the rectangular windows of the main floor works and help themselves to bring the contrast subordinate importance of the stories expressed. Only the windows of peasant huts often give the impression of a square shape, which would harmonize with the fact that a lower level of education can prefer the same easier than a higher.

XV. Relationship of convenience for beauty.

That an object at all nice to say satisfy the intent must be to immediately bring pleasure, will not deny it, that supports the concept of beauty itself on the ability to reach this achievement, as is done by us was that it was, that only one, depending on the nature of beauty to be made, this property looks the same ability, the same concept but certainly some other way. Kant has this kind of functionality, so the beauty, the nature of our faculty of knowledge conform, called the subjective usefulness, probably to distinguish it from the voice functionality, which consists of an object property through its use or consequences of its existence the welfare of mankind promote, maintain able to prevent disadvantages. The question is whether these mundane considerations folgends absolutely meant by expediency, for beauty is essential. Generally spoken certainly not as paintings, statues, music may seem to us very nicely without meeting anyone other than the subjective purpose, however enough external very useful items as farm implements, machinery, farm buildings, manure sites not only not beautiful, but some of them themselves unpleasing or even ugly appear. What we conclude that even where there is mundane considerations in beautiful objects, as in the works of the beautiful architecture and art industry 1) , one at the same time beautiful and healthy human form, the outer practicality should be considered as random to beauty, and those of other may depend. The beautiful proportions do after a building, a beautiful vessel, not that good live in the building, the vessel can do well. Kant thinks it my way and others with him that way. Also, one can say that if part of the beauty of an object that he liked immediately, then the fact that emerge only from his many other particulars, its action sequences that we like, are not fulfilling this condition.
1)

I use this expression to the summary description of the art of the vessels, equipment, furniture, weapons, arms, carpets, clothes. In the Abh "to experimental aesthetics" I have used this tectonics, which term Boetticher has the same effect used in s tectonics of the Hellenes, but with the inclusion of architecture, however, Semper (d b style) only understands the carpentry including, and for the expression of art industry in the above meaning also the expression "technological or small arts" has.

Meanwhile must not overlook the fact that the outer usefulness of an object making through association of ideas at the sight of the same claim and thereby contribute to

the immediate pleasure in it, and this for the triple aspects, first, that hereby the pleasurable effect of the sequence on the immediate impression able to transmit a certain extent of the object - we have enough of them spoke at the principle of association -, secondly, that the perceived uniform composition tuning of all components for the purposes of the article the, unified together mood of the manifold rightful is aesthetic effect not fail here, thirdly, that we like it to be, met once a given task or idea Decisions contradiction seen to appear more so, the greater the risk of contradiction. So be it a house, so it will please us to see him at once that it is built livable, be it a palace, that a higher position in life and leadership is framed to fit in, but apart from this factual interest like us already, all the details of the structure linked by a common reference to its purposes under protest and met with the intention of building to see. We like but in view of the devil on the stage when everything really true to the idea of the devil, whatever we do not like the idea of the devil itself, and it comes with this kind of pleasure just not on the substantive content of an idea, to so cheap but when it pleases us to stage where it is but if a building in all its details, its purpose corresponds idea. Thereafter, must at all on all items which have external purposes, the shape corresponding to these purposes to conform to a taste formed, partly because otherwise associated with the unpleasurable idea that they what they preserve or encourage the human welfare to afford, can not afford, partly because of the contradiction in which their device is connected to their idea, and hereby generally coherent decay of the uniform atmosphere interaction of its parts displeases us. All objects of art and architecture industry but have to meet external purposes, and as the fulfillment of the conditions of external expediency is not merely incidental, but also essential to beauty at all. Unlike with objects, not is their idea or purpose external expediency of such, are not the same demands, and so art can without any express purpose quite well by their internal relations or by association ideas other than winning the express advisability beauty. But now the question arises: why not all functional objects appear beautiful outwardly? why, for example, a broom, a flail, a plow, a crap site, a barn, a stable does not appear to us in spite of all external expediency nice, however, all the conditions of pleasure that lie on the previous to such usefulness, so are given? Well then let us think of these things instead of once established as functional rather inconvenient that we could watch them their uselessness same, would not they decided to displease us? So is it the convenience a gefallendes moment to her impression from, what does not suffice only without other large equipment or even in conflict with antagonistic moments everywhere to drive the favor of the emerging positive desire or drive so high, and giving so pure, that we want to apply the term to such beautiful works. Lack the necessary facilities or acts contrary to much, so the impression of beauty is not established, or it can even the impression of Ungeflligkeit outweigh externally very functional objects.

And so should not at all be said that the works of architecture and art industry their beauty can only be based on fulfillment of external expediency conditions, on the contrary still requires the Supplementary Conditions to will be of which to speak, it is only the fulfillment of purpose in these objects as main condition of all other conditions above, this or that may be missing or very resign, due to come into the appearance of expediency must not miss the beauty is not missing. Rumohr says once (Italian Forsch I. 88): "After the architecture of necessity and has sufficient strength, they must also strive for beauty." Correct, it would read: "After the architecture has satisfied the conditions of external expediency, they may also seek the same impression to the completing of Beauty", because can not be put outside the architectural beauty of the appropriateness. But first and foremost it requires an inward help. It shines a yes, that contribute to the usefulness or agreeableness of beauty can only come with the application for which the conditions of the fulfillment of purpose have become common enough that makes you feel at this meeting immediate impression asserted. For objects with which we deal are accustomed to makes it up to certain limits of themselves and can assume is that it had made himself, but analogy leads of such items also on such addition. So pleased is what everyone who knows nothing about architecture and, to prove his good taste so that it just as discards columns on a building, which have little or nothing to wear, so needless waste mass, such as those to have much to carry, hereby threaten to collapse. A skilled architect but will notice errors of the building at the first glance and hereby immediately to arouse displeasure, not quite as noticeable to the untrained, so not quite as displeased, on the other hand, in which he all of the architect is to a buildings complete fulfillment of purpose is finely balanced and correctly, can find a good pleasure, which is the one who knows nothing about architecture, failed to find it. So even a horseman is the beauty of a horse, the beauty of a military weapon, you want to ever speak with such objects of beauty, can totally appreciate. And so it is probably above that an expert witness, in which the feeling that one thing perfectly corresponds to its purposes, particularly vividly asserts itself, the same beautiful names to which the non-expert is not pretty, and will at all anyone who does not factual insight into the appropriateness conditions of an object, which makes claim to mundane considerations, has modest need to be able to have no safe or zureichendes disaster on its aesthetic value. Even such items of art lay mainly judged by connoisseurs of taste transfer. But further: for all objects in general, the usefulness merely asks us unwillingness to protect downside to grant us the essentials of food, drink, clothing, housing, the idea can not afford thereof, as the associative displeasure at to defend visions of these items, so do not let it appear displeasing, and in many objects leads even the direct use or carry the circumstances under which they occur, rather misfllige as pleasing Association perceptions of effort or uncleanliness caused what about the remoter purpose predominate. In many miflliger finally a direct impression is pleasing to the association of purpose in conflict. When all the while, the moment of unified link of the manifold by the final idea

remains as the contradiction in its integrity with the idea, but is itself alone is not sufficient for experts to be easy to drive the impression immediate complacency over the threshold, if only because We meet daily with many functional objects which satisfy these conditions, thereby blunting the effect of habituation makes this claim. What us but due to habituation not relish exhausted, the missing can still be felt with pain. Suppose a plow. Everyone knows, that the same is used to edit the field, and is hereby removed to the conditions to satisfy the hunger. If we plow does not seem to reflect this purpose, he would displease us, which made for efforts the art to beautify him, but so far he seems to meet us just this purpose, we do not expect him this duty in a positive sensation of beauty to. Also, the association of the heavy work with the plow will be closer than the association of the harvest that he prepared. Finally, the plow has an intricate shape, no principle intuitive unity blends. With all 'of the plow seems rather ugly as beautiful and would disfigure every way pretty Edelhof. However, someone who is familiar with the terms of the most appropriate means of a plow, at the sight of one who actually filled in the same new unusual way of achieving a strong positive pleasure to have immediately. Countless people we see easily, cleanly, quite convenient dressed without finding favor neither positive nor dislike it, by the clothing simply does nothing more, than to satisfy the need, and we encounter such clothes everyday. But now there are many objects whose purpose beyond the mere prevention or removal of pain is towards the well-being, to promote the state of pleasure even in positive enough, or to help the promotion of, and the more effective the association can be awakened thereof so more it will contribute to the pleasantness or beauty of the object, and to help much with that we do not provide such items as commonplace as a counter to those only meet the daily needs. A house may just simply be such that it the necessary protection against the weather, the necessary space and the necessary light granted to the daily business of life, but also look like that can be pleasant or glorious live in it. A drinking vessel may be such that it seems only made to quench the thirst of it, but even so, it seems made for services in a festive drinking. What always such associative impressions are awakened, they will be effective lever of revival of the beauty feeling, in turn, but help by moments direct complacency, as such regularity and the eye employing organization form, can learn, if not contradict such example purposes only. And in particular to support the associative of purpose, but also to emphasize more clearly through meaningful nature of the pleasing character of the purpose of ornaments not only through direct complacency. Yes, the noblest and most appropriate works of architecture and art industry in general require such aid to make the immediate impression of pleasantness or beauty, not to appear poor and empty, while vermchten all this support without the basis of expediency to achieve no beauty. Could one but a buildings, a vessel to which no ornaments are turned, hardly ever view that it is intended to serve higher life pleasures. Associative and direct impression have to support it, but as much as you would like to contact ornamental rates inexpedient to a work of architecture or art industry, one would thus can not banish the impression that the main thing was neglected for the secondary.

From the previous point explains why some works of architecture and art industry at the same preserving external expediency. themselves but in no way can just make as pleasing or beautiful than others, it is that they do not give the same beneficial association space is, it is that you can not bring pull the same tools of complacency to without being in contradiction with the functionality itself or is other conditions of complacency to come. So you could all means, by means of which it is sought to embellish other items and capable of Improvement, want to try a cooking pot, and would not immediately pleasing to produce assets it as a wine goblet, even by attempting to do this in beauty equal the degree of complacency, of which the pot is still capable of only detract from a very educated taste. In fact, the saucepan, without contradicting its purpose and thus to be displeasing to associative way, do not take the same form as the calyx articulated, but requires a simpler clumsier rounding. Second, are at the boiling pot unpleasing Association performances at the Brudel the kitchen and the raw material, which he has to take, the closer and determine the impression to the stronger, the expedient it is, however, contribute to the pleasing association of his purpose for our culinary delights, lying more than further recedes, while the sight of a wine goblet, the idea of an immediate enjoyment associated themselves more so the more he remembers by its shape and suitable ornaments in it. Third, do not equally serve in the pot as the chalices ornaments, be it direct it to lift the associative factor of agreeableness, partly because the attachment of ornaments would hurt the many other particulars, or use the embellishments, partly because ornaments that you about symbolic rather wanted to put to the remoter pleasing purposes as obvious many other particulars in relation to the closer association of ideas of this use would come into conflict, what is Everything felt displeased of an educated taste, and had the decorated saucepan enter the acclamation:'re not saucepan neither beautiful. So also the plow requires for its performance the intricate shape. If you wanted to paint it or carve beautiful, he would appear as a thing rather than the reputation intended for plowing, and will not be handled as freely as the undecorated plow, the right taste but he would be thereby spoiled the reputation already.

XVI. Commentary on some Schnaase's utterances in terms of architecture.

The false view that the mundane considerations for articles in their determination mundane considerations is, besides the beauty of the same shall go only to say so, often leads to wrong conclusions. You feel the beauty of a building, but you do not begrudge the appropriateness or suitability of the trust it not to have caused this sensation, or even helped, and seeks the reason for the immediate well-pleasing to the building elsewhere. An example of this can be found in the following sayings of a very esteemed connoisseur, which may also provide an opportunity to carry out the general considerations developed in the previous sections to some specific relationships and more effective to explain. On the other hand, we want to reduce all the beauty of a building on expediency, custody is filed in the preceding sections, and it will be coming back down it.

Schnaase says in Dutch, see letters in meeting the colonnades of temple: "Not the expediency, but the beauty makes the narrow, tribal proportional to the strength of columns, intercolumniations necessary .... The parts of the building must be harmonious, the column should the entablature contradict not too hard, they must, though standing upright, wearing a horizontal trace of itself, from the individual columns must be a number. " The meaning is this, the beams running horizontally, so, in order for the eye not perceive a contradiction displeased the forms, even the whole of the beams supporting columns show a horizontal train, which will be the case if they are close enough to the view of presenting a panel ongoing series, no longer, however, if they are so far that gaps are striking. We then consider each column, and so just now entering the contradiction between its vertical direction and the horizontal direction of the entablature out loud and displeasing. Whether the columns by their onward or Passenger standing now also comply with the purposes of the building, is indifferent to our sense of beauty. Not the purpose of the forms, but to have nothing to do with it-use agreement or the same contradiction in itself, it pays attention. Now ask yourself first and foremost: calls probably the eye otherwise, that parts which are of importance for as different as supporting and Worn to accommodieren to form a similarity? Would not for the same reason a table to be beautiful, instead of 4 feet, of a consecutive series leave his plate, the same wear? But to show direct that Schnaase's opinion is not in the right here, you need only to change the material of the structure. When the stone columns may not be much, because to do otherwise would immediately feel contends that they are not able to bear the load opposing stone. If you wanted to make the columns in the same timber relatively narrow, so the feel of the unnecessary by itself would impose upon.There we would be anxious mood, here is the anxiety of the builder and the lack of motivation would make us discontent with a purpose. Well represented in the timber removed standing, petite slender carved columns in place of the narrow column orders of the stone, so that the timber columns can often be omitted entirely, where she calls the stone is essential.So nothing is more engaging than the outer wall on the far anticipatory roof of the mountain huts, which is backed by nothing, or only here and there by a single pillar. Now completely in Eisenbau. Each column that formed us in stone at the purest level dimensions, sleek and outstanding appeared, would we feist in iron, to say indolent and oppressive, as in their own fat mass occur suffocating. The forms of Eisenbaues ever want to be slimmer than those of the wood construction, and the transferred almost in bars pillars thereof in proportion to their thickness are further from each other. All the iron to show that it is even harder when it's hard. Playing it solves the problems to which wood and stone to the tire or they do not dare.By casting it nestles in all forms, and so the iron construction with the lightest and most delicate limbs can emporzuranken. As he can, but our sense of beauty is now also required of him. Of course, we must know the nature of iron, of wood, stone, around the, dependent on their appropriate use way to experience the beauty contribution to the building. But we know from everyday experience enough to feel when watching a

given situation without spaciousness and can bill if they contradict this nature or not, and where our judgment is insecure in this relationship, and the beauty will be feeling insecure. One may say that some of the structural beauty is based on experiment and calculation, because the knowledge of the most appropriate mass, shape and dimensional relationships rests on this, and can not be otherwise acquired as on those routes. But an educated sense of the architectural beauty sums up the whole result thereof with pleasure together, and before the feeling is not formed such an extent that it is able to this, this part of the architectural beauty has no effect. The absolutely most appropriate ratios of all parts are now found common ground for not building in any styles of architecture, but it is also not feeling so formed that it felt, what is lacking in absolute expediency, which corresponds to. The stone itself, we demand that the columns soon close on soon (in proportion to their thickness and length) are from each other, and we demand it, even if we know nothing about architecture. But we investigate, we find that here the right beauty feeling every time coincides with the right feeling expediency. It would not please us to diverge so far just to see the slender Corinthian columns, as the squat Doric. Those may not be different from closely if they are to stand any unabated, while short and thick pillars, if they wanted to make tight, half are idle, material, space and light would steal nothing. We see the Corinthian column probably indicates that they may be rightly self not the same capacity as the Doric, and therefore wish that they'll be more help from others: while the Doric column, the piece of work, what they did to their stronger construction can do it alone, then expect to do well alone. That does not seem to fit on the pillars inside our Gothic churches. They are slim and outstanding and are still relatively more to this than any actual columns, as they are often outside than inside, attached to Greek temples, why not now just as much heart as asked pillars inwardly? Schnaase says here about (Chapter XIV, section 3): "Just vice versa are the pillars for the exterior of the building unsuitable, because the view of the spectator, instead of adhering to a fixed shape and loses himself in open spaces such as shaded in a dark interiority , and so the image of a morbid unfinished nature would receive. 1) In the interior, however granted this lack definite advantages, because the line of pillars, precisely because it has so little physical connection, referred to only by separate points, and therefore ideal mathematical line is , gives itself to us as something non-independent, as can be seen, the mere limit of space, "etc. - against this I mean, the consideration would be to ask this: the pillars inside have some other provision, partly they are found as in other conditions of the budget the columns in the exterior., you have to stand far, because they would otherwise be, inexpedient separate as a kind of wall the space with everything that goes with the congregation for worship, as a common vessel to enclose into compartments, however, narrow pillars outside as a kind of lattice imagine half a seal against the exterior;., but they can also be far, have continued to support the same as column slenderness, because they do not like to wear these the oblast into the rafters, but this is actually a curvature, which by leaning on the side walls, keeps the roof floating.

Only by despondent over the vast space it looks spread out among themselves to keep themselves excited alone by our own power, it draws in places together and falls as pillars down beats so to say root in the soil. As mere support means for supporting therefore not required to meet the same conditions of the stop, which he must fulfill if he had to wear as a pillar of the same oblast and the pillars, and he shall continue of his neighbor, so as not to block the space that actually want to be completely free; during the pillars crowd together, to safely and easily carry what they have to wear, and at the same time gate and trellis, more the one on the circumstances or other to form the space they enclose. A real feeling but everything feels out without it hovers for single performances.
1)

Can not this expression used here rather on the image itself to apply?

Schnaase has yet another reason why columns generally require a stronger position as a pillar, which was its round shape and otherwise prepared. This fact is the pillar give a semblance of independence, but does not accrue to you as a member of a whole, the view will therefore easily captured in the single column and thus run the risk of losing the overall impression of the whole building, if not the union of the columns in her tight professional in that it contradicts the view that independence and necessary, always on a number column to reflect at once, the effect of each singulated keep a balance. We note here against: but can play a part of a building greater autonomy than another if it is namely a greater contribution to the fulfillment of the whole of the premises, he appears more than one part, the other is dependent on them, as that Himself rail depending on others. Now attracts such a part of the eye more, he deserves it to captivate more and it will not create a risk that the impression of the whole, including suffering, rather, precisely because he is in the right way to pass, that every part according to its significance for the whole also asserts itself in intuition. Thereafter, however, the column on the Greek temple in fact may draw the eye more up and tie, as the pillar in a Gothic building, because it really has a greater autonomy for the above mentioned, and so may themselves contribute ornaments, this meaning of the column to the more noteworthy. Go not merely in regard to the position but also the shape of the main pillars of beauty and functionality go hand in hand. Why is the column down thicker than the top? because it serves their stability stead. Why is it swells toward the middle of something? because it is most easily inclined at this point to break and strengthen that body grants protection against it.A dancer may float on a foot; here like the tapering to the bottom just be so beautiful as in the column, tapering to the top, but the dancer to move and show the power of the soul and life force of the gravity, the column should be, wear, and show the perfect subordination to the laws of gravity and durability of the material. For the first sight, although you can find it remarkable that chair and table legs, which have so good to wear as a load columns are formed by just the opposite principle. Instead be narrower at the top, they taper towards the bottom, and while any significant misalignment or even curvature of a column is to be avoided, love

chair and table legs, especially the former, to be directed slightly outward or bend even down to the outside . With all 'which they appear not only not unpleasing, but challenge these conditions for complacency. But does not help out here Schnaase's approach? But on the contrary, they can do it, how to explain the pleasure in such opposite conditions? According purpose considerations, however, the explanation is easy as: Consideration of stability is shifted from the individual legs of the coherent whole in the way here, that the furniture is, as long as the passing through the center Vertical arrives in the area between the legs, Therefore, the advantage to judge the legs slightly outward or bend. A broadened base of each leg would this not help but make the furniture more cumbersome, however, the broad attachment protects legs from above the light cancel. In the columns supporting an entablature, each has relatively more for themselvesto stand, and to satisfy their task independently. But lacks the on the whole compilation solidarity regard, consideration of stability is called the column position in the Greek temple not entirely, except that they only quietly and so comes into play that the stability of each column suffers only slightly by the skewness. Express the pillars of the temple fronts tend in fact something about the interior, and thus the whole of the pillars imitates a certain extent by the single column. Now we come back to the fact that not all derive at a beautiful building from the themes and purpose of that beauty is not all due to the fact. The capital, the foot, the Cannelierung the column can not be derived from express purpose designs. Certainly Schnaase is right when he apart from express purpose Formvermittelung motifs between adjacent vertical and horizontal parts, such as column and entablature, the complacency keeps appropriate. Only you need not be expected to columns, closely stand to make noticeable no sharp contrast between columns and beams, but can for this, the column upward vertical continuing and also in the sense of entablature horizontally expanding, take capital to complete. By this particular substituted for each column to jump in the horizontal direction by a pleasing transition, it requires not only no certificate of horizontality more for the whole row of columns, but would this also in conflict with it are that the very different meaning of the columns and the entablature is to make a different impression. The thickening of the column to the bottom, the swelling towards the center, the inclination of the columns against each other, although in fact in the sense of purpose, are not so much by demand that is not the performance thereof, the column and the whole of the column position less monotonous and stiff, or, as they put it, to make it appear more alive, would seem even more important. You could even say it's really just so apart on this revival. But a thickening and swelling of the column top Instead, a combination of self-pillars down would take up the monotony, the stiffness quite as resist, as the real-compliance with conditions, and would still hideous to look downright unbearable. So support both moments of complacency, only slightly effective for themselves, in uncontradicted meeting after so often drawn by us in application of the principle of aesthetic help to a significant performance. And so shall also the decorations, the symmetry, the golden section and what else thinks he may find himself in fair proportions in architecture, stunted their

contribution to the beauty of it all, even the fulfillment of the whole of beauty, and not disputed by be that the usefulness of the foundation of architectural beauty remains, without whose existence these aids do not help and they only hurt by the violation. Yes you can keep it valid, that is eased by the expediency in favor of other conditions of beauty where the usefulness is only so far away or so subordinate relationship into consideration that the downside by violating them does not have the advantage in fulfilling the other conditions is felt noticeably. In itself, it is within the outer expediency that no longer work, diligence, cost is reversed to the building, as the outer end thereof up calls. But in preparation of the capital, the foot of the columns more Cannelierung is turned on. But they contradict not just the express purpose of the work, but come only in consideration of the manner in which it is built into remote end, consideration, and there is even a demand that even the express purpose shall be further enhanced complacency of the works done, so shall also the disadvantage that could make the part breach of express advisability of factors that associative contends, not felt with the advantage that makes itself felt directly by the complacency of those parts. I have explained previously drawn some speziale building elements into consideration, which is on the other and the whole, the application can easily make. Each object of art industry will have to undergo similar considerations. We limit ourselves to a few remarks concerning an example. A vessel has the purpose to put something in it in general. It is under the same circumstances, that is, to be with given mass and surface to gain most able, if it is perfectly round.Would it be on nothing more, and it would at all in the beauty of merely on external fulfillment of purpose, a spherical vessel would round us in that were to be regarded him the most advantageous performance, better than any other fallen. But still a lot of other purposes considerations make their claims to the form submits and stretch, press, turn on the ball, circumcise them, their use elsewhere again, and our sense of beauty can be best of all, not only like, but demands it. Yet at the same time so that the direct benefit is achieved except for the favor of expediency that the appeal of the manifold at each vessels for itself, but also between different vessels, formed which fell away from anywhere kuglichen vessels, through the viewpoint of practicality but always consistent remains bound. Let's look closer, so should it be any let up into the cup, it is also its content can give of himself again, so we cut a portion of the ball from the top and put it aside either wholly, or set it to the content still possible to conclude, on the cover with a knobs for setting up and lift up again. The vessel will also be possible to verify down, so sacrifices the ball lower their curvature, or flat plates we from them or at least give her a foot. A hollow spherical shell with cut and flattened lower section is the simplest dish. The vessel should be possible to take too comfortable, either, therefore we bring a thin cylindrical portion for encircling with the hand between the foot and body to which we still like provided with a small bead above or around the middle to secure the position of the hand and not to leave the vessel slide therein, or contact Henkel at the side of the vessel, according to circumstances both. So, the ball must often also to the side can approach like that would appear without regard to the

purpose as disturbing excesses, especially where, as usually with cups, only a handle there, which is not even the symmetry with another stead . To facilitate the sprue is a bend of the mouth edges outward to facilitate the sink, the places, the contraction in the beak and around the vessels still to be true when facilitated as inputs and spout his confining force, if possible, the neck-like constriction between mouth and abdomen, where it matters namely this purpose considerations. But while so the spherical shape is often completely destroyed in the vertical direction, but the remains of their circular cross-section in each horizontal direction of the vessel, because all secondary purpose exert their influence just only in that direction, at least for most vessels. But it must give itself the symmetry round, where it requires the purpose, therefore, the one-sided, the handle conflicting, spout on vessels that are primarily intended, often give away something. I have had much only vessels for fluids in the eye at all. In boxes, box, boxes, suitcases generally reluctant the form of what they receive, the application areas for the crooked walls, or brings the construction of planks, the rectangular shape of itself with itself. But even with tubes etc. as the building is so little to give everything on expediency, and urge vessels as well as structures to increase the pleasure of a point to speak to us from the start of beauty, even the ornament and help through direct, ie not dependent association of ideas, form complacency so far are compatible with those of expediency. Does occur, as noted above, the usefulness of itself as a unified link of the manifold at each vessels on, but also clearly consistent link has to be maintained in so far as is compatible with that supreme condition, and it can in this regard certain forms be certain deflections more advantageous than others. Now since, in this case mainly coming, lacking in consideration principle of uniform combination of the manifold in itself a sufficient certainty, and here also only Mitbestimmtheit by, any other vessels otherwise modified, the purpose must be considered, so would like to determine the more or less Beneficial be incurring in this area, what in fact is not sufficient priorism experiment with the aesthetic benefit. In the experiments by the method of choice with 10, according to its aspect ratio varied, rectangles according to the table (Section XIV, section 3) was one preferred more often than any other in certain circumstances.We use instead that an artist 10, for some aspects, varying models of a cup verfertigte, and it applied the method of choice in an appropriate manner, he would be able to count on the most common early cup shape also most likely to sell and at the same time might give some theoretical considerations provide a useful reference. The viewpoints from which can be varied in the form of a cup, of course, are much more than what are the proportions of a rectangle, but after a certain head shape for the cup to be given many other particulars wont have to be certain, is hereby variation of the factors is that for the amendment still remain, limited by itself. How easy to deem the previous observations of the mug can be transferred to any subject matter of the art industry. And indeed it would ever have easier when applying the method of choice in such one of the artists, as I had it in my private

experiments with it were abstract rectangles, because, on this occasion only all customers who buy anything with him incurring experiment of respective relationship needed, so no shortage of test subjects would have, and the preferred choice between concrete objects of a certain application easier than falling between simple forms of abstraction of such. At the same time he would thus reach the practical advantage to know just for the taste of those who make up its customer audience, the zusagendste form. Whether it certainly would not encounter just such distaste on the part of his colleagues, the part of me as my aesthetic colleagues encountered in terms of aesthetic experiments, but I do not want to be.

XVII. Of ingenious and witty comparisons, word games including those which have the character of Ergtzlichkeit, mirth, ridiculousness.
I believe playing in the field, what we have here in mind the principle of unified link of the diversity of the role, but still requires supporting constraints to the pleasure, which may grant the here relevant cases to his peculiar character of the threshold . driving Probably the most obvious explanation for this grant ingenious and witty comparisons and word games. In the former, the pleasure is due to the fact that we discover a short attention once a unified conceptual point of view between the way very different things, however, is rendered mediates in the second of the single point through the same or similar word name, and that we give comparisons like puns so greater favor, and we find them more easily funny and even ridiculous, depending aptly, easily comprehensible to the single link one hand, the greater the variety, or the apparent contradiction, which is mediated by the other, depending ungelufiger, unexpected, surprising, and also lying the Third, the link is, however, the aesthetic effect of familiar or obvious link at all ways falls below the threshold. In fact comes from the aesthetic effect of these Games, the principle of threshold and the blunting against familiar stimuli significantly in Mitrcksicht. Only these are just Prinzipe only determining factors, however, so to speak, the core of the action in the above principle is. Apart from these, but the effect of the principle of co-determination can still learn from the objective side, more prone to the side of pleasure or pain, quality of the content, which enters into the composition or the word game, help or counteraction. At any rate, the purest in itself purely formal effect of the principle occurs at the indifferent content. Numerous similarities we encounter daily, but do not touch us because of their fluency, not capture our attention. In poetry you will like it but already, almost rather leave than the direct use designations, like, a beautiful girl as a blooming rose, a courageous man than lions to find designated as a cruel tiger. Legal interest certainly do not want such comparisons, it is because of their frequent recurrence already jaded about it. But when Jean Paul calls the moon a swan of the sky, so this comparison appears to us as though still quite obvious not funny, but we are interested in more

than the previous one, because he does not share their fluency. Also pleasing is the fact reinforced by the fact that appeals to us the graceful performance objectively. Then calls but elsewhere Jean Paul the moon in the phase of the ex-or Zunehmens, both with regard to its shape and the moon in the sky and opium are to sleep in a joint relationship, a half-eaten poppy seed oil cake, so it seems to us this very far-off compared between quite heterogeneous objects, though in some respects less accurate, but funny as all previous comparisons, however, if he did not touch them, also could not enjoy because the remote lying there alone does exactly, it only increases the susceptibility , and wanted to tell someone, for example, the moon is a fox or a piece of bread, one would not find funny, but only absurd, because it completely lacked a mediating idea here. Suppose puns, it touches us not aesthetically that a word in different meanings found in, and accordingly listed in the lexicon with such, as we know that it has to make these different meanings asserted only for a different context, and it involuntarily such place. Against this we find it amusing when the real use of the same or a similar word or phrase brings a shared medium term for the various meanings to the fore, thus justifies the common use of the word in unexpected ways. For example: Someone said, referring to a dancer who for a salary of 4000 thalers mainly elves danced roles in Oberon and otherwise ". Taler 2000 for each leg, which is expensive ivory" - Sapphire had borrowed from a well-known banker him 300 guilders. When he visited the same after some time, he said: "Oh, you come to the 300 guilders." "No, replied sapphire, come to 300 guilders." - For a greater family celebrations, which I attended, was someone after the main characters of the feast had been sufficiently honored with toast's also living in the Assembly present uncle, and immediately an Englishman who, although for years at home in Germany rose, but in the German language only clumsy expressed, but nevertheless excelled in German puns, with the reproving counter toasts his hand he let the uncle live with nieces. The first example is the notion of control, in the second business with the 300 guilders, to members of the society, which explains the uniform mediation between the different meanings of the third toast. It is a short, to say as soon twinkling lights and verflackerndes pleasure, what a ingenious or witty comparison or a similar word game gives us, because it's a small circle of ideas in which we move here, and want to repeat the same exercise more often, soon would provoke the displeasure of monotony. But this short pleasure can be more intense than the long and rich richer on the whole, what we are able to gain from a connexion, which makes us traces a consistent relationship with a larger number of different moments, without, however, some point to increase our attention so intense and currently so strong to tighten, as it happens in games of that kind by the so unexpected uniform mediation between two very heterogeneous translucent circles ideas or imagination. Some comparisons give us pleasure, we find meaningful, without having to find it funny or even ridiculous, as the following from J. Paul: Great pain make us

insensitive to small, like the waterfall from the rain covers. - The happiness of life is not like the day in some lightning, but in a constant state of silent mirth. - Easy now you tell yourself that the mirth of this and similar comparisons of certain side through the, thought-blazing, seriousness of its content is fought, but none the less has it part that favor this predominantly rather to the meeting ends of the comparison, as depends on the opposition of the things compared. Because even though you can find physical and the spiritual, which is compared in the preceding, very contrary, we are so accustomed to regard the physical as a symbol of the spiritual and to compare this with that, that us as a new to previous comparisons in fact rather point of view of equality than the difference confronts. It ties thereto but the question because what ever hangs the specific character of mirth. Under mirth of a subject generally refers to a state of pleasure, which carries a slight exchange of ideas and even with such based on what objectively funny that is what such a state of pleasure produces or favors. The stronger the desire and the stronger the degree of change which he moves, the greater it is the merriment in subject or object. A strong degree of mirth is to ridicule. Comparisons and word games can now be funny and even ridiculous that they give rise to consummate a, lustful through consistent strong link between exchange ideas. The more heterogeneous and even contradictory ideas are so funny is, under otherwise identical conditions, the link be, but just as well the formalerseits related mirth counteract the character of the content of the linked ideas as they can increase. How then can happen former by a serious character of the contents, the latter can be done by jocular allusion, inasmuch as it ever makes a man pleasure, others are said to be somewhat mend the witness, without them harming it, so when Heine says: a girl is milk, butter, a young woman and an old woman cheese, or sapphire: a Baier is a beer keg, when he gets up, a barrel of beer, when he lies down. The talent to compare and witty puns to not coincide. Jean Paul is rich in the former but not the latter, sapphire vice versa. To the former one, a great wealth of things and material relationships to the latter, a great wealth of words with attached meaning at once or in passing fastest visualize and to become aware of lying in equation points. The former property is not in dispute is more important than the latter, and may be associated with great spiritual significance at all, but it can also lack the witty at depth, which sees itself easily because every joke is terminating in a short presentation circles. That really depends the mirth of the comparisons and word games, takes place in so far as such instead of the specified conditions, confirmed by the fact that in cases it occurs with a very similar character, some for the first sight or anything with those games and each have in common, but on closer inspection, just as the specified condition as the main constraints that have in common. Then, the mirth or ridicule themselves heard so many omissions, promise, confounding, silly answers, distractions, deluded expectations etc The next still lined up in this regard, the puns, the errors and the promise (Confusing words) that the least significant difference that here gives the word itself,

without the intermediary of a medium term, the envelope in heterogeneous meanings. If the meaning only incomprehensible or something cranky by the pressure error or promise so nothing ridiculous lies, it is in fact mean that the real meaning lying by the use of similar words in a more or less contradictory or quite apart turns, including some examples in the following activation. Printing errors. In the description of a school festival: "The ceremony concluded with the singing of a verse cholera" (instead chorale verse). Ad: "A landowner intends to drown all his goods" (sell). In one edition of Goethe's poems instead: "The eyes giengen about him as often as he drank from it" - "The eyes were on him as often as he drank from it." In the entrance of Uhland's poems songs 1 Ed, instead of "songs we are, our Father sends us into the world" - "Leather we are," etc. Obituary of a virtuoso, who died after a long illness, instead: "He endured three years" - "He was playing three years." Public acknowledgment of the part of a husband to a doctor for it, that he had fed his wife a happy funeral (termination) of the disease. Promise. A young man whom I had hired to read aloud, committed suicide include the following mistake when reading Schiller's statue at the post office (pedestals) - A British Bear (Pair) is usually a man of great influence and prestige. - The moon was on the horizon at full gallop (splendor) up. In Examinibus fall innumerable wrong answers before, and if the examiners should laugh at each, they would not come out of the laughter, instead of that they often do not get out of the trouble; wrong answers out of ignorance, poor memory are usually, but everyone is the Find answers in the following activation ridiculous because the mediation between the given and the equally demanding visible to reply here as the difference between the two is discontinued after all unexpected and different directions. In an examination of an Oxford student gave to the question: why attracted the Israelites out of Egypt? the answer: "Because, because, it will probably have been because of the history with Potiphar's wife," "the other one to the question: why was John the Baptist beheaded? "Because he wanted to dance with the daughter of Herodias." Exaggeration can also be ridiculous, that the idea of the correct dimensions or degrees of the same object turns into that of a completely incorrect measurements or degrees. Of course, nobody is phrases like "it's hellishly hot weather," or "I'm dying of boredom" laugh, although there are wicked exaggeration, but these and similar exaggerations in speech many other particulars of life so common that those ever happen in peculiar ways need to still express effect.

With ridiculous distractions commonly seen that a purpose is sought to achieve in a way that the manner in which he would achieve quite contrary. The link of this contradiction is the common purpose of presentation in which converge the contradictory ideas. I even saw a woman running through all the rooms to find her child, which she held in her arms, so it was of course laughed. If you had seen that she was looking for the child in a room, however, they knew that it was in another, so it would not have appeared ridiculous, because to find nothing odd about the fact that someone is looking for something in the wrong place, while his eyes has not yet reached, but rather, if he does not find it there, where the same look and feel it should be found immediately. When I needed a water cure in Ilmenau, they told a fearful bathers there after he had in the concern, the water in which he was to rise would be too cold for him, the same tested only by screwing holding his stick. If Someone a mistake, or the plot of a dispersed erknstelt, and to recognize the intent thereof, the character of the ridiculousness falls away, because this is omitted, the contradiction between the directing to the purpose and really looking forward actions for the idea, since one as the purpose of the actor just only the deception and the easy direction of action on this front has eyes. In deluded expectations that have the character of ridicule, it is instead a common purpose, performance, in which converge the conflicting ideas, but rather the common starting idea of a kind of action, which expires in conflicting modifications, wherein the link to be found. Nothing is more ridiculous than the jumps of kittens. Why? We are used by every movement that we see made, the following expected the same in a certain consistency. But the young cat jumps contradict almost every moments of this natural expectation. Runs a child of his weggewehten the wind cap after, we did not find ridiculous, a kid we'll ever run more than walk, but run a serious man his hat, so it appears to us for the same reason as the crack of a young cat ridiculous , and perhaps you will find this comparison itself ridiculous because one is not accustomed to compared a serious man with a young cat to see. If a brick falls from the roof, what you do not think so there is no reason to ridicule, but if someone about a brick in front falls while he awaited the event of a rose from beautiful hand, he will find himself ridiculous, if not objectively irks him the failure of expectation too much, and we will find it ridiculous anyway, who do not share his displeasure, the more so if we give him the same. But for us also the case would cease to be ridiculous if the brick the man smite dead or seriously injured because the factual displeasure at the accident formal desire to ridicule not could come into play, and this example can apply to many other where the absurdity comes about not because of objective counteractions. It may be noted that in improper acts disappointed expectations and in other cases, where the idea is contradicted by the fact that the principle of imagination unanimity

comes into conflict with the principle of unified link of the manifold, which these cases are children here. Indeed, whereas the pleasure can write in such cases to the satisfaction of the latter principle, displeasure could be expected from the breach of the first rather. But it is earlier (Section VII) is generally noted that the pain that arises from the violation of this principle remains slightly below the threshold, when the opposition is not deeply involved in our theoretical and practical interest, and the less they will can come into play when it is beaten by the strong opposite effect of another principle. Even in those cases, it compensates so to speak by itself What we come to it, for example, when a cat makes another leap, as we might expect, we find indeed contradicted by our representation, but also the same immediately refuted, corrected, raised the objection in the same moment as it arises, the new idea occurs to simply replace the old, and the raising of a contradiction is as in the sense of pleasure, as the contradiction in the sense of displeasure; thus remains the principle the single link of the manifold here, so to speak free space to express its action. In contrast, when we did run contrary to the usual course of nature, the laws and the same hereby seems to contradict to be restrained by us, conditions, appears to us even then not ridiculous when it otherwise seems to unite all the terms thereof. Takes the place of ridicule here the sense of eeriness. We set, for example, once the rain would begin after we him whenever it rained previously, flow downward saw suddenly to flow after dropping jumps upwards and the young cats in all directions to imitate, so we would still not seem quite as ridiculous, because our conditions of success could not be uprooted by the conflicting success, the contradiction would thus consist permanently and wandered us in our views of nature. So it would be untriftig and downright wrong to write the ridiculousness in the above cases to the existence of contradiction in itself; anyway betrays a notion contradicts its pain-giving property otherwise sufficiently. Only if a stronger opposition can increase the merriment, as the diversity, which established the variety, can not be greater than if she grows up to the opposition, but the greater the diversity, the loss imaging is the uniform combination thereof. Everything so far concerned only examples of the persuasive arts and real life, but the visual arts are cases that can be subordinated to the corresponding point, not foreign. When an ink wiper is a small doll, or as a slipper, or a feather duster or a book etc shown, we have for each such travesty, as in a comparison or word games, linking two very heterogeneous ideas through an intermediary, by the interpretation are one and the same form of two very different meanings of space. Lighters, toothpick container, Handleuchterchen and other objects too small purposes can often be seen just as a travesty, and can be a pleasure from similar considerations as found in the above language games, only a conflict wofern not very asserts that but those games from certain puts at a disadvantage against these side. The purpose of importance to bring in appropriate objects as possible to the appearance, following the discussions of the 15th Section lies in the aesthetic interest, hiding not only more or less by the travesty, but equilibrated so to say that, in any case can no longer make claims clearly with their full values. Where then is the purpose of a minor that we do not attach to

the aesthetic to its pure assertion in appearance much weight, the charm of the travesty, in conjunction with a particular interest or charm of the form itself, which receives the object by slightly disadvantage outweigh those, and you can allow such gimmick.Whereas it would be quite tasteless to travestieren objects more important purpose of meaning in a similar manner. Someone, for example, made the suggestion that the locomotives, which of course does not make the pleasing impression of a swan on the water moving and aesthetically to raise the fact that surrounding them with a coat in the shape of a swan. But not only that one by the game the same thing in his manner at least as interesting as the swimming swan, hid it contradicts our idea that a swan in the country continued slipping, or that a locomotive as a swan swims and these contradictions are seriously than that they. travesty together by the lure of the stimuli that could be done well, the shape of the swan in front of the locomotive may have preceded The fact that in the gimmick with travesty little purpose facilities that favor tends to be at least as much by the petite or otherwise interest organization, which is pushed to the device by as the charm of travesty, in conjunction with the specified conflicts may cause be that it is not easy to ridicule the idea that arises even if the travesty has a purpose very strange character. The ridiculous but this can occur in the visual arts that ridiculous proportions or Begegnisse of life or severe exaggerations (in cartoons) it can be shown. Thus, for example, a little picture of Biard 1) a miserable reception represents the alighting from a Rhine steamboat awaits a traveler, such as at least 10 to 12 pack and bag-carriers are divided into the travel effects and him with his companion lead to the hotel. Two strong guys wear a light tree night bag from a serious rod across the shoulders, another drives a case and an umbrella on a wheelbarrow on which one or two assistants have strained himself.
1)

Discussed in Kunstbl. In 1844. No. 88th

Full of ridiculous representations include the "Flying Leaves", to which of course the explanatory signatures are essential. Even the music is the ability to generate pools from not completely. At least I remember that the violin virtuoso Wasiliewski in a circle of acquaintances once recited a piece, you can not stop laughing came out by the same was as it were written on the principle of jumps of kittens. Casually following remark about the way in which the body reacts to the impression of ridicule towards impressions of the opposite kind. The laughter is a jerk or jerky breathing, sobbing in an appropriately jerky inhalation. A sudden joy but with the impression that their cause is sustainable, meets us, not caused us both to laugh than to a persistence in faltering state of exhalation, I think, as I'm so just imagine that I won the jackpot, while the cause of terror is staring in a sudden fright with bated inhalation. Then suddenly one perceives that one is scared for nothing, then the terror dissolves in laughter, and hereby moves the state of inhaling exhaling into a jerk about.

XVIII. The taste.

1.Royal term. It is with the concept of taste as with all our general terms, it can not be fixed constrict, or soft on all sides about the lace out, but usually remains a common core. And remains so for the term of the taste of the common core that he is a body of soul on immediate pleasure or displeasure at this and that, which does not only require the consideration to be triggered.One sees an object and without knowing why, and to ask, like or dislike it to us, that's a matter of taste. And why not ask someone about the why, and do not know why you, as you hold it enough to say it's just a matter of taste. The taste is such a subjective complement to shape the objective conditions of pleasure and displeasure. That thing must have its properties, to please or to displease, but if the person does not have the matching device, like it or dislike it but not, in other means may the One like what the others dislike, and so we speak of a different flavor, depending on Various Different likes and dislikes. In so far as the aesthetics deals with objects and relations immediate pleasure and displeasure, and beautiful or ugly in the broadest sense at all to say what the property has to please immediately or to displease even taste teaching is synonymous with beauty, the taste is a wealth of the things to be addressed one way or another, and something nice or not nice thing to locate the taste. To this extent but in a narrower sense, the term of aesthetics and beauty to objects and relationships higher pleasure and displeasure is limited, cultivates also refer to the notion of taste in a strict sense according to such and such as the pleasure or displeasure something good or belschmeckendem, despite that the term flavor is so borrowed, not to be expected as a matter of taste in the narrow sense, that is called a crediting Grump therefore not yet a man of good taste. But some can be, related to the taste in the narrower and higher senses, only conditions so palpable explain the lower. In very broad version of the notion of taste as of the beautiful or unbeautiful is not merely related to pleasure and displeasure at ratios of the outside world, but also the inner world, and so one speaks well: it is not to my taste, my lot with worries about plague to consider only long etc, in the narrow sense but referring it tastes just as nice too and unpleasant only to pleasure and displeasure at things and relations that make use of the outside world to make an impression on us. Respect one then distinguishes mind and feeling judgments that one is conscious in the former of the reasons of the judgment, in not the latter, are the judgments to the taste whether something is beautiful or ugly, just as after the conscience if something quite whether or wrong, the feeling judgments. Reasons for judgment must of course be everywhere, but they can be in an internal device, the effect, but not their origin and mode of action then you realize. Now a frequent rational consideration of claims, which have things to please or displease even contribute something to the facility by virtue of which they are subsequently dropped without consideration and displeased, but is the only one of the education funds of taste, of which We will not have to talk. As he was well developed and formed, it is otherwise well formed, it is therefore

so very estimable that it is the result of a thousand good reasons, which can find the understanding, even without searching for these reasons immediately. In this respect the taste tells us immediately that beautiful and ugly, the conscience what is right and wrong, the taste has a similar meaning for the aesthetics, as the conscience of morality. Whether they all say the objective rights, in both is the question to which there is but first, where we only have only to do with conceptual terms, not here. So far we talked only of the taste in a subjective relationship, but one uses the concept of taste on items to indicate the manner in which they respond to the subjective taste, so to speak of, a particular taste, which, in building supplies, furniture clothes there. About distinctions that can be made in terms of taste, the following comments. The most important distinction, which is to make that. Between a good and bad or right and incorrect flavor, depending on the people likes and dislikes, what he liked and disliked beziehentlich or the opposite Immediately raises the question of the point of this 'ought'. Then we will come down, first one can be satisfied with the common notions of obligation. Next, one can distinguish a finer and coarser, higher and lower, einseitigeren and versatile taste and different directions of taste, depending on whether the person is of Competent, of finer or coarser, higher or lower, fewer or more so or thus constituted rules and conditions of things to be aesthetically affected. You can not say absolutely that a finer and higher taste is also necessary a more correct or better, because so often also meet the conditions of it, it's not necessarily the case. The transferee Imaginary often has a finer and higher, but why not a more correct or better taste, what continues to come back. The less necessary is a versatile taste a good as it can be rather poorly on all sides, however, too rough, too low, too one-sided taste certainly is not good either. Also between fineness and amount of taste will be no necessary conditionality. In itself it is just a matter of a fine but not high flavor, if a man of fine execution of an image of a piece of fine modulations such as the relationships between the refining, called himself fine, pleased, but it can be quite well that the receptivity through which individuals of the fine relationships does not extend up to the highest and last relations, which go through the whole thing and link the whole thing, does not rise, therefore, despite the fineness of feeling come to no great height, however, reversed in the can be ascended susceptibility to the relationships of large masses, such as are, for example, in works of art so-called high-style play to a great height, but lost in delicacy of feeling in detail. The art comes this distinction thus contrary, that art of fine design in general are not at the same time works of high style and vice versa, and you can not say that a union of Fine and High is ever impossible and so they can be found but not in the subject nor object often together, and their union has the attempt but his. This would give rise to stray into the distance, but we first wanted to speak only of terms of taste.

While taste can be good or bad, fine or coarse generally speaking, someone you taste but rather simply sets in first as the last in the sense, that means when we say of someone that he has taste, that he had a relatively correct and fine, So does this narrow sense taste equally valid with taste as it should be. The meaning of the epithets tasteful, tasteless to do with this narrow meaning of taste, but this use of language has its whims. One speaks of man as such tasteless, lacking a good taste, why not also of tasteful than those who possess it. We have absolutely no this striking epithet, for tactfully refers more to behavior than feelings. The natural and artificial beauty is preferably subject to the higher and more refined taste, but no one will call it a landscape or a historical painting by main relationships tasteful or tasteless, while clothes, furniture, decorations, all toilets and room facilities are freigebigst careful with those epithets. Even the preparation of a painting or a statue that you yourself probably nice, but do not want to mention tasty, in a suitable or unsuitable environment can be considered tasteful or tasteless apply, however, always remains true that the evaluation of the painting, the statue as beautiful or unattractive to the immediate impression which they are able to make the whole thing is the taste. So the adjectival meaning in relation to the objects of pleasure and displeasure follows the substantive with respect to the subjects not to the objects higher up pleasure. Had the language systematically trained, the epithets would better agree with all the main words, but our words have not trained that way, and so it was not the language. Under absurd refers to the highest or a very obvious level of tasteless, something of a correct taste falls entirely. Dispute the taste. It is an old question that can not argue about the taste, however, we argue about it but, indeed nothing more than the taste, but it must be so debatable. And not just individual debatable, even nations and times, or if they do not argue about it because they are too remote from each other, the directions of its taste but argue with each other, usually by just as different from each other, as the nations and times are located far from each other. But the scientific and religious views are close to each other in time and space, the best friends in all things else, yet still maintain to argue about the taste. And the aestheticians and art critics, who had to decide the dispute, argue most about it by also arguing about the aspects and reasons for the decision. Let us now first of all some of the most striking examples disputing taste purely actually awaken the eye, partly to a view of the size of the occurring differences of taste, partly to find starting points for future discussions therein. And first an example from the field of fashion, one sphere, which could cast doubt that the taste at all adds rules and laws. For although in every new fashion, he gives himself a new rule, it is only in order to mock the old and addicted to ridicule the later. Arguably the most tasteless, what there is now a wig and its slightly later

representatives, powder, braid, hair bag, which made the head itself to a kind of wig appears to us. But how different it became a not too long past time to do so. I myself have heard old people still tell what impression of poverty, barbarism, brutality did so before them a head without hair and braid. A man without the saw out of nothing. Here in Leipzig, my father-in-council builder Volkmann, the first who dared, at a solemn occasion, his Doktordisputation was in fact to appear without pigtail, and be with him befriended opponent, the philologist afterwards became famous, Gottfried Hermann, seconded him in this venture, which he had hardly felt grown alone. Also, it nearly cost him entry into the Council, for a father to think of the city without pigtail, was almost to the handlebars of a ship without control thinking. But were hair and plait basically only weak echoes and last offshoot of the once widely dominant wig; through this and to say to her as polar train but earlier impressions were produced, which could leave us almost regret to have gone these pieces deprived of which one is the dignity of the people increased by as much upwards, as though the other extended to the bottom and back.We have thus become poorer by a source raised impressions. In fact, a great Alongepercke in previous centuries did unquestionably a sublime impression as the Cologne Cathedral, precisely because the wig so great, made no made, therefore, remained unfinished. But it's also hard to say much that she previously made a greater, as the Cologne Cathedral doing now. I remember to have read me that a child when his father received a visit from a councilor, who wore a huge wig, later asked with timid reverence, but it was probably been the love God. So it was not without the greatest wig think now reversed and closed by the largest wig on the highest being the Supreme Being. Thus, the awe had agreed before the wig already in the minds of most recent root. Also, it was not like when actually wearing these things around with today's tails, just as the one generally discards theoretically until recently in the company, and has managed, even today not completely strip. Rather, the taste was on those things for so authoritative that it represented itself representative of taste. Reading, what an artist who has even written an analysis of such beauty and in any case wrote to the taste of his time, Hogarth, it says 1) . "The full and long wig has, like the mane of a lion, something noble in itself, and the face is not only sensible but also a venerable reputation ...." and: "The judges skirts have an awfully venerable reputation, which the size of what is in them gives them, and when the train is held, a sizable wavy line goes up to the hand of his tow vehicle and when the train set down gently. is it commonly falls into many diverse folds, which in turn beschftiget the eye, and get you the attention. "
1)

After translation: "dissection of Beauty" by Mylius. P 12

You see, Hogarth took wig and train a truly ideal points on. Also, the wig came from this point to the art. When the tails still greater advantage was as now, one would be but even to family paintings, so as to have more spared in monumental representation, someone to represent in tails, one carried and carries him to say in contradiction with the prevailing taste still like that. Against this it can be argued, as I read in a competent representation, "that from the period of the sixties and seventies

of the 17th century until fairly deep into the following into any public and family paintings and before any title page of a book, a male Portrait is, not wore a wig, because the man would be represented in the nightcap, which also occurs, "for the nightcap was playing as kompendiser excerpt from the wig a very different role than now. But just think once, a gentleman in a wig or hairstyle, breitschigem tails, flowery Schenweste, short scarlet trousers, big buckled shoes, and at his side a lady with a high head essay, Schnpflsterchen in the face, Schnrkorset, hoop skirt, high heels, was a beautiful day in ancient Athens or Rome in the market-border appeared through the crowd, which would have as kind of an impact it? You might think it would be an inextinguishable laughter arose. That would be incurred on our markets. Rather, I believe there would be a general horror created by had meant about seeing the ghostly appearance of two idols from a widervernnftigen world as they could devise no human imagination, no human mind. Yet formerly had of the events in France the taste of even the Greek and Roman kings, heroes and senators put up, perform in traditional costumes only slightly tempered its kind in the theater. As much as she wanted the taste that could not even pay the then commonly accepted principle of imitation of nature through the art, however, is rather saw only the necessary idealization of nature through the art of it. Now they are indisputable garments, fashion stuff at all, just lower objects of taste. But at the time, where people wore braids and wigs, so to say all contributed, even the highest objects of taste, pigtail wig or where exactly the expressions pigtail wig or taste, pigtail wig or time. And at a time when the Greek and the Roman toga robe were worn also voted Everything about these garments. So here we have nothing in what regards the taste understood, times and peoples, to say that. How ever make for taste differences never isolated claims and all of the examples to cite here actually have to represent a larger context of such. Let us thus. From fashion to art, but content ourselves with shorter references to this infinite field Shall I speak of examples from the visual arts. Think for example of how the taste for antiquity was lost in the early Middle Ages all, is only at the time of the so-called Renaissance again, after many fluctuations, in the midst of their Bernini more than the ancients was, in Winckelmann as to say a new rebirth celebrated as the Canovasche softness and pretension celebrated a recent victory over the old, and idolized by Winckelmann Apollo now has to put up with, to be placed in the second rank. Our musical taste is not the taste of other nations, yet our current musical taste the flavor of the past, the future, but already with music blaring fanfares there to announce the victory over today. Just like here the following passage from a historical essay about music find place that has myself that I'm not a music intelligent person, especially interested 2) .
2)

Augsb. General time. In 1852. Hatchet. to no. 29th P 458

"The fact that the harmonic Much of what made the surprising contrasts for our

ancestors, we on the contrary little surprised, but seems trivial, it is not conspicuous., But sound that the ear of an era harmonies connections completely false and absurd, the beautiful to the ear of another time and have, of course, sounded, this is still a puzzling fact. Already the garish and unprepared dissonances that we now hold frequently for the most versatile, have been considered 100 years ago for earrending.'s more. The gruesome quart consequences of Guido of Arezzo in the 11th century repugnant to our ears so that the extreme self-denial practiced singer is one of them to bring such harmony connections only ever from the throat. Yet they must have the medieval ear sounded beautiful and naturally! Even dogs that modern thirds and Sextengnge listen quietly, begin to cry pitifully when auditioning them the barbaric quart of course Guidonian Diaphonien on the violin! These historical stated retuning of the musical ear is in fact incomprehensible. " For this purpose, the author shows how the orchestra mood, tempo, etc by location and time has been changed. Without me stopping here, I add to the examples from the actual music such from the frozen music, as is well known, one of the brothers Schlegel called the architecture, an example of what happens when already appeared the previous almost unbelievable likely appear even more incredible by our architectural taste is almost made it to the head. In our as the ancient architecture, it is regarded as self-evident that column, columns only carry parts of a building, but not like the legs have the body of an animal, the whole building recharge, and as so self-evident that they rather than narrow from top to bottom. In fact, it would appear to us as a thing completely wrong taste to see a building with pillars, columns entirely elevated above the ground, as it shrank from the touch, what it has rather to be based entirely, and the thickeners, and therefore heavier, part of the columns to see props rather than returned to the top to bottom. Both absurdities but can be found in the architecture on the island of Sumatra Bencoolens united, as I take a trip description. For here lies the floor of the houses not on earth, but on 8 foot high columns, so that you can go away under the floor like under a blanket, and these supports are all thicker than the top down. Here, the same does not apply to residents about merely as objects of utility, but really the taste, as it shows that they work the same clean and decorate their upper part in a similar way as we decorate the capitals of our pillars. Your eye and sense of beauty or taste has just adapted to these conditions of their buildings, such as our taste occurring in our relationships, and when we laugh at their stelzfigen houses, as they are against our houses undoubtedly seem like creatures, which are the legs cut off, and now lie flat on the ground. One wonders: how can we explain such a perversion of taste? You will not only continue (pt. 4,) explain, but as can be justified not an aberration, and precisely because it is so instructive, I have given them. Now just one last example regarding the aesthetic conception of nature. That this significantly different, submitted to the ancients as with us is very easy from the fact that they in their way, but not so highly developed art landscape

painting in the same sense as we had. Although one knew laughing, thriving, wellcultivated, rich alternation of forest, mountain, river areas, especially beach areas of lake and sea to estimate well, and built preferably like it, but stood still in no way sentimental relationship to nature, not as refined in the modulations of the aesthetic enjoyment of nature, yet made no trips to beautiful places just to the beauty of the area's sake. The overall aesthetic impression of the landscape was, without being purely sensual, want to have the sensual, gained undisputed closer than ours, however, some details of the nature, as notably groves, springs, rivers in its mythological relationship, a higher aesthetic significance for the elderly as for us. Especially strange but is the difference in the aesthetic conception sublime and wildly romantic areas between the ancient and the present. For such areas, one may say, the antiquity of the taste was totally off, and if you now jokingly by some dog breeds says they are so beautiful, the uglier they are, the ancients would have said earnestly of our tastes in such areas , they seem to us more beautiful, the uglier they are. Areas such as the Bernese Oberland, the Chamounithal, the higher Alps at all, now apply to us as a source of sublime travel impressions annually attract a myriad traveler, and probably never heard such a waste exuberant exclamations in all Sprachidiomen as there, the Berlin and Leipzig only reason to look askance because none of the dialect of the other, noble enough for the grandeur of the scene takes place, and everyone wants to enjoy the sublime solitude alone. The earlier you could now have easy, because those areas were previously fled from travelers who were not forced to make their way through it, and let himself back in memory only the appearance of a shock image. And strangely enough voted in this respect the taste of the ancient Greeks and Romans with the taste of our pigtail wig and time together perfectly what it is instructive to read the comments of Friedlnder in the second part of his depictions of the moral history of Rome. He leads authorities on from earlier travelogues, where the Salzburg and Tyrolean Alps, the Scottish Highlands bare as all decorative and beauty, together with the Mark Brandenburg sand deserts and the Lneburg Heath in the same category and in the same sentence, and the sweet laughing areas where you able to enjoy alone, were compared. Yes stylistically it was as yet little in the last century, to take care of a sublime alpine surroundings, the example proves Klopstock, the sublime Klopstock, who had it for a prolong stays in Switzerland are ignored. Under the same point occurred in the old areas like the Campagna at Rome, which now provides so popular landscape motifs. The ancients had a farm also made in their present state, except the one the impression of scenic wilderness and desolation. Now regret artists and friends in advance that after the seizure of Rome by the Piedmontese goes to meet the Campagna of cultivation, sooner or later, and thus that scenic beauty is forfeit and the elderly would be able in this regret have only a sign of our wild taste behold , and have accused us that we, as much as we have learned from them, but not quite taken off the barbarians and our outer nature is still raw in our raw natural flavor. Enough of the examples I've taken from all areas of industry where ever taste can make claim to the areas of fashion, art and nature. Everywhere we see the differences

of taste as far as possible, that those who are at the one extreme, it must be difficult, the ability to understand the opposite extreme, almost to believe it. And now what variations of taste between these extremes. It would be interesting if they had colors to represent this infinite variety of shades of taste to the eye on a blackboard in connection, of course, just like this entire painting of taste appear to us as the most tasteless thing there is. To this great diversity of taste now comes even to touch it here, an equally large uncertainty of taste. Seen above the visitors of an art museum or an art exhibition where there are not the most greatly embarrassed if you this and that is liked or not. Although found in relation to all known masters and images such indecision not take; everyone knows that it must Raphael, Michelangelo, Titian, Albrecht Durer, like Dutch genre paintings, of today's painters Overall Cornelius, but you only know what is fallen, and to the experts are there to tell us, it also begins immediately at us really like, because most of the flavor is like most faith is implanted, oktroierter, we get it down. And so the majority judgments of taste are dominated in matters of art only Nachurteile by the judgments, prejudices often, less expert, from which larger or smaller circles of society. But in terms of images of new or unknown masters lack of evidence of the name and unfortunately, if one is helpless before the new image is not always just a connoisseur before him or behind him, whose judgment you could eavesdrop. The judgment of the experts but is unsure if the name is uncertain. Was still again in a famous picture seen by the example that when his master was from a known unknown to the earlier unanimous taste of all connoisseurs it all fell into confusion, and some quite seceded from then on by the admiration of the image . Whence, then, one may ask, this great diversity of taste on the one hand and indecision on the other hand, sharing in the field of taste? The nice thing is to have an absolute validity but why it does not claim? it should exercise a spell on people, why failed so many times this spell? And finally what decides the dispute of taste and highlights the uncertainty? Because each flavor is equivalent and there is absolutely no relevant aspects, to distinguish poorer a better one? This one seems to be saying in effect so that when one says can not argue about the taste, you mean to say that the dispute can not be decided. Now what regards the explanation of differences of taste, it can provide a different standpoint, one high in the process. To capture the highest possible, one can say that the whole development of the human mind is under the influence of an idea, in the highest and last instance of divine or absolute idea, and all differences of taste are merely complementary and challenging each other detaches and in annihilating moments, body, levels, where the highest taste impact idea, deployed, comes to appearance, without being able to be exhausted in a single publication. Each lower level but has a higher than its precursor condition and it is considered to be repealed, the total of all levels of course finally the one that has manifested itself in the respective representatives of the highest idea as such. Now that we are fully informed of the powers, levels, self waivers by Schelling, Hegel and their successors, which has to go through the idea to fulfill the highest, so this way has no difficulty, as the experience in the thus pre-drawn diagram accommodate, and if they do not want to be

accommodate to modify the schema from a philosophical absolute power then. But this also an absolute insight into the origin of all tastes differences is then generated. Which is only to be regretted that this insight is complicated by the somewhat mystical character of the Absolute Idea, therefore, only the property is preserved to some philosophers, who themselves do not expect the idea of a common and clarity. At a considerably lower but that the common sense more accessible point one imagines when one says, the differences of taste and depend on the inherent diversity of human nature, on the other hand, the diversity of circumstances in which people grow up, and the various how they are brought up, down, and hang their differences with general directions to the whole intellectual culture together. This then can be broadly according to their cross through all nations and ages moments pursue pragmatic, and show how the development of individual differences into it a taste and subordinates. Still is a high and beautiful task, refer to the culture and arts stories regarding their execution. You can now but finally ask for recent psychological levers through which the taste of each individual receives his direction, and which occur in the flavor differences of whole rows and nations only on a large scale and connexion in effect, and since in the cultural and Arts stories are not easily condescends to its consideration, I will, instead of repeating what you can find there, continue to respond to this last lever with some considerations. With the subjective causes of the taste differences are encountered, the objective that the objects of taste generally considers offer different pages. Now, depending on the system, living conditions, education, attention is of a more challenged by this, the others from that side, and whichever one it is more pleasing or displeasing, his pleasure or displeasure at the whole object is mainly determined by. Thus, the A pays at a picture almost entirely to the composition, and the picture he likes, if it satisfies this, as well as the coloring was designed, in an other the favor is reversed mainly determined by the ratios of coloring, the One pays more on the nature of the content, the other more to the form in which he expresses himself, etc. In short, the diversity of taste is partly due to the one-sidedness of the same together, if they can take different directions. What the decision between contending taste is concerned, the question arises first of all, who is going to be a judge? The feeling? But the battle of the taste is just a hassle of feeling, so can not be decided by the feeling. The mind? Well, it is possible to specify its criteria by which something is beautiful, so it will be easy to justify the taste or discard according as he makes it seem beautiful or not beautiful, does that immediately liked or did not like. But unfortunately these criteria between the aestheticians are in dispute, so fluctuating, indefinite, or float in such a philosophical level that one can justify the wig and train as well then as the Greek garb, one needs only to choose the principle afterwards and turn. - We prefer but otherwise usually the Flowing, Curved the straight struts aesthetically ago; Hogarth has even downright explains the line of beauty for wavy, Winckelmann for elliptical, Herder for hovering

between straight and crooked, and how often one hears today a figure because of the beautiful river forms its prices. The wig seems to be made to meet all these requirements in one, and we have added the Herbartian Zimmermann'sche principle that like the Great addition to the little ones, so we'll have to see in the biggest wig the most perfect beauty. Why do we reject it but the wig and pull even the bowler before despite everything we find wrong with it, still the half-wave, semi-elliptical in her curls case the straight and crooked merging, just the most beautiful river of forms performers wig. - According to some, beauty is divine, to aussprechende the earthly, sensual appearing idea, and the role of art as a performer, the ideals of beauty. But toad and spider are divine creatures but also why they are like us and less like a lily and rose, and why should the wig as a terrific jacket around the main be less than ideal at the ideal representations of so much more appreciated coat around her shoulders . But the wig is just an idealized hair. - Some recovery of the beautiful is that which emerges from a free games can stimulate the imagination and such. But who will deny that there could a much freer play of imagination in the old hairstyles, tower-and garden-like head cleaning than in our current hairstyle to comment on, and that even the costume of the age of Louis XIV and XV. well advanced in this respect was the tastiest today and completely ancient costume, which limited the imagination on the specific way the appropriateness and usefulness. - According to some, the idea is to represent the beauty and the laws of the organic only in its purest form, the shape of the columns, all the conditions of the buildings, their overarching purpose of ministering to the beauty owe only the memory of the organic structures. Now, it is the law of all higher organic structures, not to rest on a columnar base, and all organic support columns are thicker than the top down, why we want it but can not apply to the Bencoolen'schen buildings. - We find the fifths and fourths consequences of Hucbald and Guido of Arezzo and completely the music of the Negroes and Chinese abominable, but we can see aberrations of taste in it, since we are rather that of its deals initiated by nature itself savors later have departed. - We appear most barren glacier areas as the most sublime thing there is, the ancients they appeared as the dullest thing there is. But otherwise we see patterns of taste in the elderly, Winckelmann has even made it an article of faith, which makes us make an exception of it. - Short principle will not hold quite random, neither the forms which are beautiful, even the idea nor the imagination, yet the organic design, nor the conformity of nature, nor the belief in the absolute excellence of ancient taste. If you want more Prinzipe, you could define the perfection of sensuous appearance, of the disinterested pleasure or convenience without purpose, and probably bring the other language; By previous one but it has probably been more than enough. Now, of course, is the way I did all those Prinzipe to language, most superficial, and could not be otherwise, because a sharper and deeper taking also another going back, as this was out of place, would have required, and so it can any representative of any of these principles difficult for me to convict of this superficiality, and to turn his principle as or construed that the wig fourths and fifths consequences of Bencoolensche Baugeschmack etc, really then appear reprehensible, and all that in today's taste and particular tastes of the representative of the relevant principle is

really nice then appears, except that unfortunately it just simply depends on a clever twist and interpretation to justify the taste any time thereafter or discarded, and the expression and interpretation always is directed rather to the existing flavor than conversely. We have seen this in Hogarth and can see it in the taste judges of all time. I am now no aesthetic Savior to lift this state of things;'m rather even believe that absolutely no principle can be set up, which puts us in a position to dispute the taste to decide in all cases but one, which the point from which the dispute is to lead, called clear enough and not really complicated cases, though, only leads to more or less security for a decision. But even after that first (item 4) will respond after we have considered the various educational resources of the taste, which also are the reasons its diversity into consideration. System, formation of taste. The taste of man is his investment by innate, his training to become, and the way of this becoming through the original system with certain, but by no means solely determined. In short, the taste is the product of the original plant-parent and influences, and to the diversity of both the falls from different taste. By congenital means all people are affected in some way by matching the easiest and simplest suggestions sensual relations of the sensible. Pretty much every child pleases a sweet taste, any raw people of all colors like red best, the most uncultured eye is a symmetrical figure like more than an irregular tangle of trains. On this common basis but the taste is already angeborenerweise internal conditions of a different fineness, amount and direction of development. The average woman is a more refined but less high taste created as the man of the Europeans on a more refined as higher than the Negroes, the French and Italians in a different direction than the taste of German and English. Although the different parent influences on diversity of gender, race and nationality in general, have but as far as the people educate themselves, even out in part formed only from a different congenital condition, however, moments lie in the influence of the natural environment, which the education system and the influence of winning together. So important is the innate system as a starting further development, yet too much is easily given to it by the taste as the conscience of the people even slightly as something from the start or finish Mitgegebenes vermittlungslos from the unconsciousness of the child Evolving out, and a good taste is regarded as a particularly happy dowry. Indeed, but the taste is only done everywhere by educating and may be very different at the same innate system according to the diversity of the parent influences still in grade, height, subtlety, direction. The means of education of taste are difficult to bring under one general point, but can as that of the people at all, as in the following categories are considered that are not everywhere, but, up to certain limits, keep apart: 1) Transfer of others.

2) Own consideration. 3) habituation and blunting. 4) exercise. 5) association. We restrict ourselves have the same further into main aspects, however, the deeper psychology, education theory, cultural history, ethnology into it, as is done here in consideration. Firstly. The fact is that the prohibition favor or disfavor the other is able to determine our own pleasure and displeasure with, or even in from front to determine the easier, the less we are already determined by other sources, and ever determine more force the others to us attending. So the taste goes from the parents of the children to their own judgment strengthened as long as the taste in art schools is under the influence of teachers and comrades, and if a taste in some ways dominated for some time, a whole people, up the transfer, with the habituation always have the chief share in it. The transfer can be partly because come to pass, that reasons of pleasure or displeasure of others are asserted, which require only the highlighting to their success to have short by instruction, and partly by the fact that the pleasure or displeasure of the other by his statement itself over implanted in us by causing a kind of mental contagion, which the passive or indifferent nature nor the easiest, especially the part of those subject to which it is accustomed to subordinate. The psychological basis of this transmission may still require explanation and clarification, as in fact they should be recognized in any case. One can argue that an originally indigenous imitation is erstrecke of actions on feelings, and accordingly, the pleasure and pain, which attract other at the sight of that and express that, our own pleasure and pain produced curl of the same at the sight, or even in consideration, without I would like to see this as the sole reason that if one only knows what is fallen, and it keeps you on the what you think is smarter, so long as one does not find themselves wise enough, the favor is easy for no einfindet other reason than that at all, which is supposed to be like us. Everyone appreciates a good taste as a preference, he should have, and so also awakens the desire to acquire this advantage, an involuntary humor in this direction. By the way, each one is free to satisfy the desire for a more thorough explanation. Second. No less than foreign policy can own reasoning repeated make us the importance of pleasing or displeasing things familiar enough henceforth directly to like or dislike it. To be held by others set out, we can create it ourselves. Thus we see the taste of the connoisseur and philosophical esthetician often rather of their artistic principles as determined from the reverse. Third. By virtue of the so-called habituation man can do what he disliked at first, often after prolonged or repeated exposure as they say put up or find even positive pleasure in it, and what he liked at first, but took it without his well-being, finally to demand and need, but also because even feel the omission of itself indifferent to

habituation been incurred with pain. It is a kind of internal adaptation of the organism to a stimulus, which is caused by the effect of the stimulus itself gradually. But it complicates the laws of habituation with those of blunting, supersaturation, overstimulation and thus come partly in conflict. According as a stronger impression and often recurs, its effect blunts, and each stimulus can be increased as much and as often repeated, that the limits within which an adjustment may be made to him in the above sense, be exceeded. Therefore, the habit of delights is still generally not associated with increase in their pleasurable effect, and reveals himself to be more by the pain in her absence as the lust in their effect on the jaded feeling, so it depends in some way on habits and would like it again from the confines of the familiar out his newly inspired, and therefore also weariness, supersaturation, overstimulation, paralysis may be due to excessive and often repeated impressions arise. Go forth from this very diverse conditions that would lead to wide track, but it could be enough here to have, reminiscent of the most common factors to which they subject themselves. Now reach through each time, every country, every state, every gender and age other circumstances, or in certain conditions continuously through repetition, and thereby also to give other directions of habituation and hereby other provisions of taste, as far as it depends on the habituation , occasion. Fourth. That of the simplest sensory stimuli angeborenerweise all people, if not addressed in quite the same, but rather the same way, has been recalled above. Pursuant but as the stimulus of lower and coarser impressions by repeated preoccupation with blunts to occur in those who are susceptible at all for finer and higher impressions, also the need for a study of such a so gradually finer and finer provisions and higher relations a begin to make an impression, which did not at first, while at the same time withdraw the aesthetic impression of the coarser and lower provisions relationships. As already occurs for the wine connoisseur gradually the crude taste of alcohol and candy back and he is but all the more susceptible to the finer rules of taste, and the Gourmand makes nothing more of the dumplings, which give our public dining establishments a doubled throng, and white but all the better to appreciate the right mix of Klchens. So Rumohr was a judge of culinary taste. But what is here is for the sensual taste, entirely in keeping the taste in higher areas. This is mainly the taste of the higher educated and more educated times and peoples from the taste of the child, the farmer, the raw time and different nation. The pleasure in the glaring contrast, the bright red bow on colorful painted images, colorful doll resigns with increasing education, and finer and higher relationships that do not touch the undeveloped taste, begin to identify the main idea. Finally, the educated requires each works that will please him, that all the relations of the same in a high relationship linking an idea that can not conceive the child, the savage. As in the visual arts, as in music. The ear of the rudest people like best the rauschendste, the simplest change moving music that their sense most affected, the child that comes from the fair, the blare of his small trumpet like better than a

Beethoven sonata, but also music wise yesteryear liked even simpler melodic and harmonic, the pleasure of presenting to say so on the plate, gears better than those which have a higher draw pleasure from further branching and thus higher to enhancing relationships and the resolution decided disharmony.Pursuant but as this to please start listening to those simple Tongnge to satisfy, seem insignificant, boring, not employ more and more like it. If earlier octaves, fifths, fourths Follow appeared pleasing, thirds and Sextenfolgen were avoided, can be probably explained by the fact that octaves, fifths, fourths are the simplest possible, falichsten to be tonal, which consonant for most. As long as you practiced so much was not yet in view of musical relationships now, as now, the reproduction of the pleasing impression of each consonant produced an increase of the effect, which is not as now the same was outweighed by a vote against the monotonous recurrence. Short repetition of well outweighed complacent nor the repetition of displeasing. Fifth. According to the diversity of circumstances in which people live, and the different times in which they live, associated with the experience for them Different at the same, or the same in Miscellaneous, making the A somewhat under-pleasing, the others may appear under displeased relationships. Habituation and exercise go hand in hand so often or take them to their output. The fashion this is the most obvious evidence. Let us recall the example of the wig back. But as it was the taste of past lines about? The impression she makes simply by their shape and color will say as much as anything, and how should one have to get used to, without a reason to habituation. It is said that the wig was invented to cover the baldness of a king. Had taken a king a farmer his bald head covered with it, never would have become fashionable, but now associated on the wig something royal, and it may be, that the king's entourage at first merely of flattery imitated him, caught it from there to the impression of nobility, dignity, wealth their support to build on their vision and also to radiate from the circle of courtiers from ever further. Initially, the wigs had only modest size, which gave them their first purpose, and then grew as an outward sign of size, dignity, like a seed, once he has taken a certain direction, up to certain limits continues to grow, so grew at the same time their aesthetic impression. And we saw that this impression is increased in children even to the impression of the divine. In itself but the wig has nothing divine, she could only owe this impression of the association. Thereafter contributed habituation and transfer to securing it the same, but it could have been without association from the outset not cause. And so we can say that most changes of taste ultimately depend on causes which do not belong to the area of the taste, but occur through the mediation of the association in the same and consolidate and propagate through habituation and transmission maybe ever. Similarly, the impression of nobility, wealth, dignity of their support to the clubfeet their ladies, the thick bellies and long nails of their mandarins has hot linked the Chinese. The Chinese has become so common, this association that he deference which he pays making, gauging partly by the thickness of their abdomen and even his idol, together with a thick belly; short the fat belly has become to him an ideal form in the View comes over him a feeling of power and size, I suppose, when the

abdomen exceeds earthly boundaries, a sense of divine majesty. The slenderness of the Apollo Belvedere would only appear to him indigence; involuntarily she would give him the idea that he saw someone of lower class before him who had no wealth, power and rank enough to leisurely sit down to rest, and his belly to maintain, and he would only be able to find a man in it, the eagerly to his combinations lags because the Chinese themselves for other reasons does not normally run. As much as the taste of the individual is affected generally by transfer from the dominant flavor, it sometimes occurs often enough that Those who also have the artistic life, through it away lying occasion of the association to which they are subject in life, with the prevailing taste in art occur in full contradiction. Like us in the following activation Dresden's Sistine Madonna, deliver this most beautiful picture in the world, a few examples. A military said after a visit to the Dresden Gallery, the Madonna had him but only made the impression of a drunken Bauermagd. Of course, he had hitherto seen only peasant maids go bareheaded and barefooted, and probably seen the look of one over the earthly grandeur only as a result of the drunk one. - Before the picture was the same, well-known through popular medical journals, Dr. B. asked him seem like the picture. Fixing the child, he said: "Dilated pupils has worms must take pills!". His habit of life was seen in the Christ child just a worm him just sick child. - Another known to me, doctor, I heard about the two angels on the lower frame edge say if his children rebelled so boorish, he would push open with his arms on the table, and a small Englishwoman expressed by the same angels, they would probably not governess have had. 1.Principles of right or good taste. Common ground can be used for the development of each flavor Statement reasons, see the previous categories, of course, but it is not sufficient to have explained its origin to have justified him that if we do not explain everything Incurred and hereby everyone for consisting rightly want, because everything has Incurred reasons of their occurrence. And what it is finally what we approve a taste that can discard the others, even one can be better distinguished from a worse? Basically the point of this is very simple, almost self-evident, only the application usually too difficult. The scale of the quality of a taste is just only the general standard of quality, ie, it is not merely a matter of whether you like something or dislike immediately, gives pleasure or pain in the present, that is the fact of the taste, but if it's good is that it pleases or displeases, ie whether the welfare, happiness, winning the salvation of mankind as a whole rather by such manner of pleasure or displeasure in the higher sense than losing, because after that assesses the quality, the value of things. Now, of course, contributes to the current well-being of each pleasure at all in, and this has to weigh in judging the taste with, because the present has to weigh the consequences both in the dimensions of quality, but how often is the current or selfish desire of adverse consequences in whole outweighed or enters into schlimmem connexion on, so it is important to take into consideration when assessing

the taste on the consequences and contexts of his life and his education, in short, everywhere asking whether something good at that and come out that flavor. Who butt against sources of pleasure that are in nature and art, is, or of what can give more pleasure, but receives less inclined to equate the consequences and relationships brings a desire gap or pleasure loss to the world. This is a mistake of his taste. But that is reversed in regard to the consequences and relationships to often. What the people like it, he seeks to have to produce, look up, and how it is disposed, he seeks Other minded to make. The pleasure in many things is possible only with a valuable gedeihlicheren equipment, education, mood of mind than with others, and can lead to a more valuable or less valuable means of the external world. What ever the mind by reflection as the most appropriate, recognizes the best in the whole, the feeling is to appear and then immediately wake demgeme drives and moods. Whether it is a matter of fashion, art or nature, he will always be considered from the point of whether the pleasure in it in past relationships good or not good, and, so far as we are able to decide about the taste is then approve or reject the others prefer the taste or leave a repositioning. In countless cases, now we will find such a balancing exercise too difficult to give a decisive result. Then, the principle makes us nothing more than that it makes us wise enough to humble us of the judgment. And this wisdom and modesty has gone into our sense of self, when it so often does not dare to choose, we can not say whether we like something or do not like, however, we know or feel that it is an object of pleasure or displeasure 's. But in some cases, but also the judgment of the Maprinzipe of kindness is easy, at least for cases with relative safety, and in any case any balance is then carried out to perform any dispute on that basis, if you want to argue. If the Chinese like about their ladies crippled feet, at its dignitaries and idols fat bellies, one might at least be in doubt as to whether this taste just as pleasurable crucial for them than not, the opposite just for us, but their taste worse than our and in general to be called bad, because a flavor that, Adverse can find pleasure in the Unhealthy, makes the notion of the dignity and grandeur of sensual fullness and heaviness socialize, does not lead to good consequences and related to no good sense. More so are all indecent images of bad taste. You may like this and that, indeed grant immediately as much pleasure as the more moral moral representations, but it is not good that she liked him, and for that reason we call its a bad taste. Man should not form his taste so that it emerge disadvantages for the healthy and appropriate management of his life completely and for the morality of it, and he can make it so that it is not the case. And not only is discarded every taste, which invites such blame, but also anyone who is only possible through such a fault, because it can not be the case without it amplifies them. With all due immodesty, Unhealthy's all impropriety, Loggerhead, internally to reject untruth of good taste, and indeed from the double point of it is not good for the mind to find pleasure in the contradictions of nature, and not good for the world,

These things are like to leave, because over short or long, but if not, in the general order of the moral and intellectual world, the untruth, the inner contradiction in disadvantages for the internal or external good of man consists in individual cases in order. In all such cases, the decision on the preference of taste appears easy, so easy but it is not always. Should I, for example, decide whether the wig or our current stiff hat, if the braid on the head in the last century or two braids on the tails of the present century were tasteful or tasteless, so I would not dare. How much harder compound and abzuwgende considerations but generally come into question if it is necessary to decide in higher areas of taste which way of feeling is the most valuable in the whole. Not that we ever leave the principle in these higher areas in the lurch, we are still able to draw much Governing thereof, but a major advantage of the principle is always the but to teach us humility of the judgment. In general, all the innumerable cases in which make conflicts between different aesthetic considerations argued that it will indeed be lightweight and easy to discard extreme one-sidedness and a preference for clearly subordinate considerations before parent as against good taste, but it will be not only impossible , the point of best balance between accurately determine, but also necessary, as is still compatible to allow a certain latitude or freedom with a good taste, without being able to determine the exact limits of this freedom. About this dispute is not always safe decision possible, and be careful not to keep his subjective sense of authoritative generally be useful. Such caution but becomes an aesthetic requirement by considering, on the one hand, that of everyone taste but only under certain temporal and local conditions has been able to form, and has inferior peculiar transmission ratios to their specificity, on the other hand that really well at different temporal and spatial relationships Different fits, and thereafter may be Different in the sense of the appropriate taste. Let one example cited earlier in this sense speak. So strange and absurd to us may seem the Bencoolensche Baugeschmack, it can be but its origin to the principle of association precisely explain both, as justified by our principle of evaluation of the taste of his goodness, and indeed in this case the explanation to justify almost given himself. The way how you build in Bencoolen, is in fact to show how immediately, for the conditions Bencoolens the most appropriate, best herewith. The sense of this functionality has been associated with the inhabitants Bencoolens to the sight of their buildings, attached by habit and transmission, and thus takes up with so much to let them appear beautiful, as with us, the usefulness of association helps. Did they build the way we, as would be the equally absurd, and, just as absurd to call their taste, which has established it as if we wanted to build it as.Each flavor must set out what is intended purposes, also to be found only pleasing if it meets such. As regards the collection of houses on the ground first, so it is justified by more Bencoolen purpose motives, as we may have for most of the facilities of our homes. First place, brings to the hot climate Bencoolens this facility the advantage

out that, if one goes away under the houses, there is always the shadow of what must be achieved in other cities hotter climates with greater inconvenience to traffic by a large narrowness of the streets . Furthermore, since most of the country of residence are located on rivers or lakes, which often leak, so the houses are protected by their revolt against the drawbacks of flooding. Finally, they are thereby also the more secure against the attacks of wild animals, of which especially the Tigers should be so common there that, as I remember to have read, you look at it in Bencoolen almost to the natural end of life, eaten by a tiger to be. So what would displease as absurd incident to us, if it were running at us, because it would correspond to no purpose, and therefore did not form the pleasurable association, and even in Bencoolen yet to displease when we are not educated in Bencoolen, is for residents Bencoolens itself get a completely different meaning. You are the houses at the same time parasols, including the supports form the stick, and not merely residence on earth, but also places of refuge, of which they are about disaster, which threatens them from the earth, away lifted, and what contributes to these purposes at home meet, also contributes, to fill them with pleasure in it, and must contribute right. Just as the collection of houses but also by supporting the shape of the latter has easily than even the simplest manner, natural purpose to fulfill conditions arise, and the Greek column in this respect is not justified as the Bencoolensche support. In Bencoolen earthquakes are very common, the stone therefore quite impossible, and the houses are lightweight wooden houses, and so it was, in short, labeled with the local buildings not to create heavy masses on the earth, but light masses in stuck the earth, about how stuck a light object on a fixed with needles, so he will not cast off by the shock. The needles are now represented here by piles, you einrammt into the earth, but thinner than the top down piles can by its nature be only. What we are now done here in assessing the Bencoolenschen Baugeschmacks, we should actually do it anywhere where it is a judgment about the taste of foreign nations and times, put ourselves in the circumstances of time and place, and see if the taste for our conditions are not justified. may seem, but it is not for the ratios of the other time, the other place. But it may be a taste that is justified for existing conditions, insofar as it the these conditions Fairest calls, but contradict higher taste claims insofar as these conditions are not themselves justified, and find a often hard to crucial conflict rather, how far the near and thus more urgent or more general the higher demands of taste can be satisfied. Anyway, remains above all, time, place and specific circumstances changing, demands the highest demands of good taste into force to allow anything that is contrary to the general principles of human flourishing, hereby nothing of physical and mental health, religion, morality, logical contradiction contrary. And thereafter it may be the case that the taste of whole nations or times after this or that respect must be declared bad, and the general public a taste at a time or nation not yet guaranteed its quality. You can tell this by the taste of the Orientals on Bilderschwulst in poetry, for

example. Common ground that it would require only other-parent influences to make what overgrown in this relationship with them and made sense, but grow rich and beautiful. Further but it may also be the case that not only the conditions under which people live, are entitled, but also the taste for these conditions is a quite legitimately, could not be better for it, and that but the taste of this people to estimate from a certain point of lower than the taste of another nation, it is that it is less given the opportunity aesthetic feeling to satisfy immediately had it that the equality of conditions, where the taste adapts to both sides, but not equally valuable is are; every taste but must be assessed only in connection with the conditions under which it is composed. Although it is so little can the inhabitants Bencoolens permission to live in Bencoolen and adapt their Baugeschmack the conditions Bencoolens challenge to live as the Greeks in Greece and set up according to the conditions of their country, but it can be thought that the Greek Baugeschmack not only a greater possibility than the Bencoolensche granted, the aesthetic feeling to meet directly, but also rooted in relationships and mutually contributes to and maintains that permit a more prosperous development and management of life itself.Then he will be appreciated but not higher at greater justification. More so is the need to apply in relation to the fire Baugeschmack lander and Greenlander. That quality of taste not necessary coincide with subtlety and depth of flavor, was earlier noticed in general. Namely, it can easily happen that the taste for finer and higher provisions relationships, unless it can develop anywhere only at the expense of appealing to less fine and high, greater cost makes in this regard, as it enters, to the people of mistimmende conditions to high enough for him not bolted and fine fibered enough people and things with which he has to operate, sets. Then you have what you as an over-refinement, over-education of taste rather than blaming praises. Against this you will have follow right as rather to call a taste of niedrer stage as a bad taste the flavor of a child, which is greater pleasure in his colorful paintings bow as a Raphael's paintings, although the language used this consistency does not always comply. Would it not pious, when the child reversed the image Raphaelsche better than its picture-liked, because with such premature development vertrge be no fruitful development, you would have seen here on a stage made for the child's taste. For an adult who makes claim to be on the level of education of his time and nation, the childish taste would be regarded worse than a by course for quality of taste for someone who by age, status and nationality of a higher and finer level of education belongs also heard that his taste in height and fineness together so agree. Here grows in fact the quality of the taste up to certain limits, with its height and fineness, however, it may decrease but also by over-education and overrefinement of taste again. The taste in an objective sense (as point 1) understood, can be a dominant in a certain time, a certain flavor to justify expansion up to certain limits, the mere fact that he is different than the last time or just in the neighboring space prevailing taste. For man needs to not be numb to shared sources of complacency, the change of

the same, and so you would also like the antique taste in fine arts, architecture, art industry generally speaking prefer each other, it would be necessary but temporal and spatial variations of the same permit, which, although less of everything else beneficial, but would give time and place advantageous just by changing the antique in equating. However, the application of this principle requires great caution and is limited by a counteracting principle. In general, change the conditions that have with what the taste to enter into a relationship, even from himself so much in time and place, that hereby also occur by itself amendments to the claims of taste, which meet the need of change, without the same regardless of to take into account. So the need of the change is only insofar as can be decisive, as the other factors that determine the claims of taste, freely leave the choice between advancing conservation and exchange, or advantages which different flavors offer in different directions, are to be brought in exchange for validity . Thus, the Baugeschmack has pointed arch style and Rundbogenstil each has its advantages and benefits, it is both just, and thus meets the need of change by not a single of two preferred. Thus, the Chinese Baugeschmack itself can find its place. Through no need of change but could also just be a temporary or local architectural style are justified, which contradicts the terms of the durability and practicality at all. Is now already a very general restriction of the last principle is that should not at all be changed from good to bad, shall be limited to the same thing even more special and direct by the following, denominated downright opposed to it, but only apparently contradictory, principle: a one in certain period or extension prevailing taste can be justified by the fact that it coincides with the taste of the time or just past the neighboring space up to certain limits already. But as this principle is compatible with the previous? First makes of the subjective establishment of the people's need of change of impressions that are not directly mibehaglich, only valid if a certain level of continuance is exceeded, but secondly also get more and objectively by neighboring times and places certain conditions on, common demands which are made on the taste. Now, how have weighed in each particular case against each other both Prinzipe, depends on the subjective and objective conditions of the case, and it can only be given the rule in terms of our general principle, thereby taking account of the conflict both Prinzipe that the advantages of both the continuance exploited as possible of the change, will therefore progressed from one to the other only on the basis of the incoming excess weight. After all, so there's all, formerly (as point 2) in contact with volatile, with principles of assessing the quality of taste, a single, to be completely and everywhere by beating, in which all meet those Prinzipe, as far as they are cogent, and decide what their conflict, so far as they do not coincide, but are all but cogent up to certain limits, and make not all together. Just that there are so many shares the downside to be valid Prinzipe that it is easier to set up than to apply since it requires a balance to the we lack precise knowledge of the weights. This principle is related to the fundamental relationship of beauty to good together (see section II, point 2), and is short, basically,

of course, and so seemingly trivial: The best flavor is the one in which comes out the best for humanity as a whole, but is the better for mankind, which is more in terms of their temporal and eternal welfare voraussetzlich.