ARTISTIC FORM AND SIGNIFICANCE.
Review of the Thought in Preceding Chapters -- Reproduction of Beauty Necessitating Attention to both Form and Significance -- Meaning of the Term "Form" in Art -- Of the Term "Significance" -- The Necessity for Giving Due Consideration to both -- Regard for Form and Disregard of Significance in Painting -- In Sculpture, Architecture, Music, and Poetry -- How Far the Artist must Consciously Regard Claims of Significance -- Regard for Significance and Disregard of Form in Poetry and Painting -- In Architecture -- In Music --Regard for Form and for Significance Need not be Antagonistic -- Reason for Applying to the Higher Arts the Term "Representative."
THE opening chapter of this book undertook to show that art which is such in the finest and most distinctive sense has to deal with the sights and sounds of nature, with human thoughts and emotions, and with products external to the artist. In Chapters II., III., and IV., certain limitations were placed upon each of these conditions. This art was said to be confined to such sights and sounds as are beautiful, to such thoughts and emotions as are largely due to the subconscious action of the mind, when influenced by emotion and stimulating imagination, and to such products external to the artist as embody the other two conditions instinctively, or as a result of skill, acquired by practice. In this chapter, an endeavour will be made to limit the province of these higher arts still further, and in such a way as to indicate a single principle applicable to all of them in all of these