The Philosophy of Art

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CORNELL UNIVERSITY LIBRARY
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THE
PHILOSOPHY OF ART ;
AN ORATION ON THE RELATION BETWEEN THE
PLASTIC ARTS AND NATURE .
BI
F. W. J. VON SCHELLING.
Translated from the German ,
By A. JOHNSON .
“ The artist should indeed , above all things, imitate that spirit of nature, which
working at the core of things, speaks by form and shape, as if by symbols ;' and
only in so far as he seizes this spirit, and vitally imitates it, has he himself created
anything of truth .” — Pages 9, 10.
LONDON :
JOHN CHAPMAN, 121 , NEWGATE STREET.
M.DCCC.XLV.
1
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P R E FACE .
In a time like the present, when art has become, so much

more than formerly, the affair of all, —when the general
interest is directed and instructed by a commission of such
accomplished men , -- the Translator has thought that an Eng
lish version of a celebrated Essay, by one of the greatest of
modern philosophers, could not but be welcome; and the

more so, as the mode in which the subject is treated is very
different from that in which it has heretofore been handled
by English critics.
In England there has been but little endeavour, since

the last generation, after a scientific system of Esthetics.
Perhaps the want of decided success in the authors who
then treated of taste, though rather to be attributed to the

hostile influences of the time, has indisposed the public mind
to the investigation itself. But with better times we may
{
ii PREFACE .
hope for a more favourable result ; and although a perma

nent good can only be hoped for from a course of investi
gation which proceeds from that point of view from which
the subject is generally contemplated, still the study of that

to which a different set of intellectual relations has elsewhere
led , may not be without use ; and the accompanying Essay is

offered to the English Public, rather as a guiding light than
as a substitute for individual effort, in cultivating that field

of research which is already in their hands.
It is impossible ever to transplant the philosophy of any
country from its natural ground to a foreign one . The con
ditions of its life are so inextricably interwoven with forms

of thought, which cannot be transplanted with it, that such
an endeavour must be ever fruitless.
To this cause is to be attributed , more than to any other ,

the failure which , on the whole, attended Coleridge's endea
vour in this direction .
Our English philosophy must proceed in an organic deve

lopment from Locke, Hume, and Berkeley, as the German
one did from Leibintz, Kant, and Fichte , to Schelling and
Hegel.
The characteristic difference between this Essay and all

that has appeared in England on the subject, is, that it pro
ceeds in its investigation from the idea of art itself; whereas

our criticism is rather founded upon a confused considera
tion of its works.
PREFACE . 111
From the prevalence of the latter method among us is
to be explained the vagueness of determination when the

ideal or the characteristic is to be treated of, and that gene
ral want of reference to principles, under which our artistic

criticism for the most part labours.
The great light which is shed upon these points in the

accompanying Essay cannot escape the most cursory obser
vation . It was delivered by the Author as an Oration ,
before the Royal Academy of Sciences, at Munich , on the

12th of October, 1807, in celebration of the birthday of the
King of Bavaria , and is, in fact, an application to art of
Schelling's Philosophy of Nature . Maintaining, as he does,
a creative purpose in nature ( anima mundi ), he treats the
creative power of genius in art as it intellectual correla
tive.
It may be asked, of what service can such abstract theo

ries be to art ? Has not art brought forth all its wonders
without them , and may not we do as well without them as

other times have done ?
It is very true that the works of genius do not wait for
an intelligible theory of their production ; indeed, that pro

duction must ever precede the theory which shall account
for and explain it. Neither is it pretended that theory
can ever stand in the place of genius ; but when once the
true one is discovered , it affords a test and criterion of all
works within its sphere.

‫܀‬
iv PREFACE .
A true and scientific system of deductive logic is not

necessary to reasoning ; but, when once discovered , it acts
as a corrective to individual errors, and offers a far better

standard than the most general assent. The true theory of
art stands in precisely the same relation to its works.

Even supposing that the true theory is not yet discovered,
still the endeavour after it, when once general, frees art
from individual views and likings, and forces men to give
more cogent reasons for their judgments than a mere assur

ance of their appreciation of its works.
To contribute in any way to so desirable a state of things
is the ardent wish of the Translator, and his inducement thus
to appearbefore the Public.
Fully aware of the many shortcomings in the execution

of the Work , he would fain say something in extenuation of
them .
There is a peculiar difficulty in translating any philoso

phical work from the German . Words which, relatively
to systems in that country, have a clear and determinate
meaning, become vague and deficient in force and exactness
when translated into another language, in which those

systems are wanting.
From this cause the Translator feels that those faults may
be in some measure imputed to the following version ; but
he hopes that a candid consideration of the difficulty, nay,
almost impossibility, of avoiding them will in some degree

PREFACE . V
moderate that censure to which they would otherwise be

justly exposed .
Of one thing he feels certain — viz ., that those who can
best appreciate the importance of the Work will be most

lenient in their treatment of him who has introduced them
to it .
Note . — The English reader, who may wish to become more

intimately acquainted with the general aspect of Schelling's Phi
losophy, is referred to Johnston's translation of Tenneman's
Handbuch der Geschichte der Philosophie.
ON THE RELATION
BETWEEN THE
PLASTIC ARTS AND NATURE.
FESTIVE days like the present, adorned with the name of a

king, that, like a magic word, calls forth joyful emotions in
all hearts, seem of themselves, where words only can celebrate
them , to lead to the contemplation of the universal and most
worthy ; thus joining the hearers in intellectual sympathy, as
the patriotic feelings of the day have already in loyalty.
For what more noble thing can we be indebted to the rulers
of the earth, than for the preservation for us of the peaceful
enjoyment of the excellent and beautiful; so that we cannot
call to mind their good deeds, nor contemplate the general
happiness, without being immediately led up to the universally
human ?
Such a day could scarcely be distinguished by a more ap
propriate delight than by the opening to public view a true
and great work of plastic art; nor less appropriate seems the
attempt, suited also to this place, (devoted to the sciences
alone,) to develop the nature of art itself, and in a manner to
display the creation of its works before the intellectual eye.
How much , and for how long a time, has art been felt,
thought upon , and judged of ! How , then, could the speaker
hope, in such an assembly of enlightened connoisseurs and
B
2 ON THE RELATION BETWEEN
penetrating judges, to give the subject new charms, did he not

discard foreign ornament, and rather reckon on a portion of
their general favour and consideration for the thing itself ?
Other subjects must be elevated by eloquence, or, if there
is anything extraordinary in their nature, be made credible by
exhibition .
Art has at first this advantage that it appeals to sight;
and doubts of a perfection above the common measure, that
might otherwise be heard, are met by the fulfilment; as that
which in the idea could not be conceived, here steps embodied
before our eyes.
But, on the other hand, the speaker is supported by the
consideration that the many theories which have been formed
on this subject have all far too little fallen back upon the first
source of art ; for most artists, although they all should imi
tate nature, seldom arrive at a conception of the being of
nature itself.
Connoisseurs, and thinkers too, mostly find it more conve
nient, on account of the greater unapproachableness of nature,
to educe their theories more from the contemplation of the soul
than from a philosophy of nature ; but such theories are gene
rally much too jejeune ; they make general remarks of real
excellence and truth on art, but for the plastic artist are gene
rally ineffective, and in practice totally fruitless.
Plastic art should, according to the ancient saying, be a
dumb poetry. The author of this criticism , doubtless, meant
thereby that art should , like poetry , express intellectual
thoughts - conceptions whose origin is the soul only ; not by
speech, but, like silent nature, by shape, by form , by sensuous
and independent works. Plastic art, then, evidently stands
as a connecting link between the soul and nature, and can
only be conceived as their vital synthesis.
As plastic art has, indeed, its relation to the soul, in com
mon with poetry and all other arts, that relation in which it
stands to nature, and by which it should be a like creative
power, remains as its peculiar character ; and thus only on
THE PLASTIC ARTS AND NATURE . 3
this relation can a theory ground itself, that can be satisfy .

ing to the understanding, as well as advancing and valuable
to art.
We hope, then , by contemplating plastic art in its relation
to its true antitype and source, to be able to add something
not yet acknowledged to its theory; to give a more exact
determination and illustration of its conceptions; but chiefly to
set forth the inner connexion of the entire temple of art in
the light of a higher necessity.
But has not science always acknowledged this relation ? Is
not every theory of recent times founded upon the very prin
ciple that art should be the imitator of nature ? Indeed it has
·been so ; but what could this broad and general principle
rprofit the artist, among the many meanings of the conception ,
nature, and while there are as many views of this concep
· tion as there are ways of life ? To some, nature is nothing
more than the dead aggregate of an indeterminate host of
objects, or the space in which things are packed as in a case ;
to another, merely the ground whence he draws his, nourish
ment and sustenance . To the inspired inquirer alone is nature
the holy and ever-creating primal energy of the world , which 1
begets and actively produces all things from itself.
That principle would, indeed, have a higher import, if it
taught art to imitate this creative energy ; but there can be
little doubt how it was meant to be understood, when one is
acquainted with the general condition of the sciences at the
time of its appearance. Strange, indeed, would it be, if that
" which denied all life in nature should hold that life up for
imitation to art. Of them , the words of the deep - thinking
man were true : “ Your lying philosophy has annihilated
nature; wherefore do you demand that we should imitate
her — that you may have the new pleasure of exerting the
same tyranny on her disciples ? ”
Nature was to them , not merely a dumb, but a totally dead
image, in whose inmost recesses was implanted no living word ;
a hollow scaffolding of forms, from which an equally hollow
image was to be transferred to canvass or marble. This was,

indeed , the right theory for the more 'ancient and rough races ;
as they saw not the godlike in nature, they derived idols from
her ; while for the penetrating Hellenist, who everywhere
recognised the traces of this living creative energy, nature,
produced gods indeed.
Should , then, the disciple of nature imitate, without distinc
tion, all things in her, and in each thing, all things? Only beau
tiful objects should be reproduced, and only the beautiful and
perfect in them . Thus the principle would be more narrowly
determined ; but at the same time it would be maintained that
in nature the perfect is mixed with the imperfect, the beau
tiful with the unlovely.
How , then, could he who looks upon nature with an eye of
slavish imitation distinguish the one from the other ? The
very characteristic of the imitator is to give rather the faults
than the excellences of his original, because they offer greater
facility and apparent resemblance ; and thus we see that imi
tators of -nature in this sense have oftener, and with greater
partiality, imitated the hateful than the beautiful.
If we look upon things, regarding not their essence, but
merely the empty and derived form , they answer not to our
souls ; we must engraft on them our own feelings and mind,
if we would they should respond to us. But what is the per
fection of a thing ? Nought else but the creative life in it
its power of asserting its own individuality . Never, then , with
him to whom nature appears as dead, will that divine, and ,
as it were, chymical process , succeed, from which, as from a
purifying fire, flows the pure gold of beauty .
The general aspect of this relation to nature was not altered
when the unsatisfying character of the principle became more
generally felt ; not even by the noble foundation of new theory
and knowledge laid by J. Winkelmann. He, indeed, gave the
soul her whole sphere of action in art, and elevated it from
an unworthy dependence to a more intellectual freedom .
Impressed in the most lively manner by the beauty of form
7
in the works of antiquity, he taught that the production of the

ideal; and a nature more elevated than the actual, with intel
lectual expression, was the highest aim of art.
We will inquire, however, in what sense this surpassing
the actual was by the greater number understood ; and it is
evident that with this theory also nature was still looked upon
as mere product, and things as lifeless presences, and that
thereby the idea of a living and creative nature was by no
means awakened .
Thus neither could those ideal forms be animated by any
positive conceptions of their being or nature.
If those of common life were dead for the dead beholder,
these were not less so . If no self -development of the former
were possible, neither was there of the latter .
The object of imitation was altered , but imitation re
mained ; the lofty works of antiquity took the place of nature,
from which the student busied himself to take the outward
form , but without the spirit that filled it. They, indeed , are
unapproachable— more so than the works of nature ; they
leave us also colder than nature, unless we bring with us that
intellectual eye which can penetrate their veil and perceive the
living energy within them .
On the other hand, however, artists since this time have
acquired a certain ideal aim and notions of a more than mate
rial beauty ; but these notions were but beautiful words, to
which no deeds corresponded . If the earlier practice of art
begat bodies without souls, this theory taught the secret of
the soul, but not that of the body. The theory, as is usual,
passed over with hurried steps to the other side. The living
mid -point was not yet found.
Who dare say that Winkelmann knew not the highest
beauty ? but it appears with him in its dissevered elements,
on the one side as beauty of conception, which flows from the
soul, and on the other as beauty of form . But what active
effective link binds the two together, or by what energy are
the soul and body together created as it were at once , in one
B 2
breath ? If this is not in the power of art, as it is in that of

nature, it can indeed create nothing.
This living synthesis Winkelmann did not point out; he
did not teach how the form should be begotten of the concep
✓tion ; thus art pursued that method which we might call the
retrogressive, striving from the form to arrive at the essence .
But the absolute is not thus arrived at ; by a mere grada
tion of the limited the illimitable will never be reached . Thus
all works which have taken their commencement from the
form , betray, however elaborate in that direction, an inex
tinguishable vacuity at the very point where we expect the
perfect, the essential, the ultimate.
The miracle by which the finite should be elevated to the
infinite, and by which humanity should be deified, is wanting.
The magic circle is drawn, but the spirit which should be
forced into appears not, regardless of the voice of one who
imagines a creation possible by mere form .
Far be it from us to impute the blame to the spirit of that
accomplished man , whose immortal theory and revelation of
the beautiful was rather the occasion than the effective cause
of this tendency of art. Holy, as that of an universal bene
factor, be to us his memory ! He stood like a mountain in
elevated solitude: through his whole time' no answering sounds.
no movement of life; no pulse beat in the whole wide kingdom
of science answering his strivings ; when his true companions
arrived, even then was the excellent one snatched away ."
In intellect and perception he belonged not to his own time,
but either to antiquity or to that time whose creator he was
-the present.
He gave by his theory the first foundation to that general
structure of the knowledge and science of the ancients which
later times have commenced to build upon . He first conceived
the thought to look upon the works of art in the manner and
after the laws of eternal works of nature ; for before and after
him , all foreign human action was looked upon and treated as
the work of arbitrary will. His spirit was among us, like a
soft -breathing wind, which cleared from clouds the heaven of

ancient art for us, so that we now , with clear eyes, and hin
dered by no mist, behold its stars. How must he have felt
the emptiness of his time ! Had we, indeed , no other ground
than his true feeling of friendship and inextinguishable longing
after its enjoyments, we should have justification enough for
this word in enforcement of intellectual love for this accom
plished man , of classic life and classic activity; and if he felt
another longing which could not be stilled, it was towards a
more intimate acquaintance with nature; he expresses repeat
edly to his intimate friends, in the last years of his life, that
his last observations would go from art to nature ; thus in a
manner anticipating the deficiency ; and that he had failed to
perceive in the harmony of the universe the highest beauty
which he did in God .
Nature meets us everywhere ; at first, in forms more or less
hard and undeveloped ; like that serious and quiet beauty, that
wins not the attention by striking peculiarities — which attracts
not the eye of all.
How can we, as it were, intellectually melt these apparently
hard forms, that the pure energy of things may flow together
with that of our souls, and both gush forth together in one
stream ?
We must look beyond form in order to gain an intelli
gible, living, and true perception of it. Contemplate the most
beautiful forms, and what remains when you have denied in
them the effective principle ? Nothing but mere abstract
qualities, such as extension and the relations of space. Does
the position of one portion of matter in the neighbourhood of
another contribute, in any degree whatever, to its inward
essence, or the contrary ; evidently the latter. Proximity 2
makes not the form , but the kind of proximity ; this, however,
can only be determined by a positive force opposed to the
disjunctivity , and subordinating the plurality of the parts to
the unity of one conception , from the force which works in the
crystal even to that which, like a soft magnetic stream , gives
to the particles of matter in the human frame such arrange

ment and mutual interdependence that the conception of essen
tial unity and beauty becomes visible.
But that we may fully comprehend the essential in form ,
we must regard it, not merely as an active principle in general,
but as intellect and effective science .
All unity can be no other than intellectual in its nature and
origin ; and to what tends all investigation of nature, save to
the discovery of this same science in her ? For that in which
there is no understanding cannot be the object of understand
ing. The perceptionless cannot be perceived . The science
through which nature acts is, indeed, in no point like human
science, which is interwoven with a reflection on itself ; in it
✓ conception differs not from action, nor intention from fulfil
ment.
Thus rough matter strives, as it were blindly, after regular
shape, and unconsciously assumes pure stereometric forms,
which, indeed, belong to the realm of conception, and are
somewhat of spirituality in matter. The stars are instinct
with the most exalted science of number and measure, which
they, without a conception of these things, put into practice
in their movements. More evident, though not self -conscious,
appears the living perception in animals, which we therefore
see accomplish innumerable works, far nobler than themselves,
without deliberation on their part : the bird, enraptured with
music, excels itself in soul- filling tones ; the small, art-gifted
creature, without practice or instruction, perfects light works
of architecture ; but all are led by an overpowering spirit,
which lightens indeed in solitary flashes of knowledge, but
nowhere comes forth as the full sun, as it does in man .
This effective science is, in nature and art, the bond between
conception and form , between body and soul. Every single
*thing is preceded by an eternal conception schemed in the
infinite understanding ; but by what means does this concep
tion pass into actuality and embodiment ? Only through the
creative intelligence, which is as necessarily combined with the
infinite understanding, as that essence, which comprehends the

idea of immaterial beauty, is combined with that which em
bodies it in the mind of the artist.
If that artist is to be accounted happy and before all praise
worthy, to whom the gods have granted this creative spirit, so
will that work of art appear in the same measure excellent,
v in which this unalloyed energy of creation and activity of
nature is shown us as in an outline.
It has long been perceived that, in art, all things are not
performed with a full consciousness ; that with the conscious
activity an unconscious energy must unite itself; that the
perfect union and reciprocal interpenetration of the two is that
which accomplishes the highest in art; works wanting this seal
of unconscious power are recognised by the evident want of a
self-sufficing life, independent of the producing life; while on
the contrary , where this operates, art gives to its productions,
the understanding, that
V together with the highest clearness of
inscrutable reality by which they resemble works of nature.
The position of the artist, in relation to nature, should be
continually made clear by the declaration that art, really to be
art, should at first withdraw itself from nature, and only in
the last accomplishment return to her. The true meaning of
this seems to be no other than the following : - In all things
in nature the living principle appears only blindly effective ;
if it were so with the artist, he would not be distinguish
able from nature sitself. If it were his. wish consciously to
subordinate himself to nature, and to repeat things present
with a slavish truth , he would produce masks (larvæ ) indeed,
but no works of art. Thus he must remove himself from the
result, from the creature, that he may elevate himself to the
creative energy, and spiritually seize on that.
By this means he elevates himself into the region of pure.
ideas; he forsakes the creature, that he may regain it with
thousand -fold interest, and in this sense certainly to return to
nature.
The artist should indeed, above all things, imitate that spirit
of nature, which, working in the core of things, speaks by

form and shape, as if by symbols; and only in so far as he
seizes this spirit, and vitally imitates it, has he himself created
anything of truth ! For works which are the result of the
mere connexion of even beautiful forms would themselves be
without all beauty, as that which gives beauty to the whole
cannot be form . It is beyond form- it is the essential, the
universal, the aspect andexpression of the- in -dwelling spirit of
nature.
We can now scarce doubt what is to be thought of this so
universally demanded, so -called idealising of nature in art.
This demand seems to have originated in that manner of
thought which conceives the actual not to be truth , beauty,
and goodness, but their contrary . If the actual were, indeed,
opposed to truth and beauty, the artist would be obliged, not
to elevate and idealise, but rather to dispense with and destroy
it, that he might create something true and beautiful.
But how could anything beside the true be possible ? And
what is the beautiful, if not full and perfect being ? What
higher aim could art then have than the representation of the
actually existing in nature ; and how could it affect to surpass
the so - called actual nature, when it must ever remain behind
her ? Does art ever give to its works sensuous, actual life ?
This statue breathes not, is animated by no pulsation, is warmed
by no blood ; but both this professed surpassing, and this ap
parent inferiority, appear the consequences of one and the
same principle, so soon as we place the aim of art in the imita
tion of the actually existent in nature.
The works of art are only in appearance and on the sur
face animated ; in nature, the vital principle seems to pene
trate more deeply , and entirely to unite itself with the material;
but are we not taught by the constant change of matter, and by
: the universal fate of ultimate dissolution , the unessential cha
racter of this union, and that it is no perfect intermixture ?
Thus art presents, indeed, in its merely superficial anima
tion of its works, the non - essential as the non -essential.
How is it, that to every cultivated perception the so - called

imitation of the actual, though carried almost to illusion,
appears in the highest degree untrue / indeed, has the appear
ance of a spectre; while a work in which the idea is predomi
nant appeals to that perception with the full energy of truth
indeed, first sets us in the truly actual world ? Whence does
this arise, if not from the more or less clear conception that 1
affirms the idea to be the only living power in nature, and
that all else is beingless and empty shadow ?
By the same principle are explained all the opposite cases
which are adduced as instances of the surpassing of nature by
art. When it detains the fleeting course of years, when it
unites the energy of full-developed manhood with the grace
of early youth, or presents a mother, grown -up sons, and
daughters, in the full possession of energetic beauty, what does
it but dissolve that which is unessential - time ?
If in accordance with the remark of the discerning critic,
every growth of nature has but one moment of perfect beauty,
we may also say that it has but one moment of full existence .
- In this moment it is what it is in eternity ; besides this, there
is but an approach thereto and a falling therefrom .
Art, in that it presents the object in this moment, withdraws
it from time, and causes it to display its pure being in the form
of its eternal life .
So soon as we have deprived form by our theories of all that
is positive and essential, it must appear as restrictive and in
a manner hostile to the essence ; and the same theory which
had produced the false and weak idealising must tend neces
sarily at the same time to the formless in art. Form would
indeed be restrictive of the being or essence if it were present
independent of it; but it exists by and through the essence ;
and how could that feel itself restricted by that which it
creates ? It might indeed be injured by form which was forced
upon it, but never by that which flows from itself; much
rather must it rest content in this, and therein recognise its
( self -sufficing and self - included nature.
1
Determinate form is in nature never negative, but always

affirmative; in the general way, you think of the form of a
thing as a limit within which it is contained ; but if you
regard the creative energy, you will perceive that it is a
measure which it gives itself, and in which it appears as a truly
thinking power. For universally is the power of self -restriction
considered an excellence, as indeed one of the highest.
In the same manner most persons regard the single, or se
parate, as negative— viz., that it is not the whole or all ; but
nothing separate becomes so by its limitation , but by the in
1 dwelling energy by which it affirms its own entirety, in oppo
sition to the whole.
As this energy of singleness, and thus also of individuality,
presents itself as the living character, the negative conception
of it necessarily introduced into art an unsufficing and false
view of the characteristic .
Dead, and of intolerable hardness, were that art, which
would represent the empty shell or limitation of the individual:
| --we desire more
we desire certainly to see, not the individual
the living idea thereof.
When, however, the artist recognises the aspect and being of
the in -dwelling creative idea , and produces that, he makes the
individual a world in itself — a species, an eternal type ; he who
has seized upon the essential need not fear hardness and seve
rity, for they are the conditions of life.
Nature, which appears in her full development as the high
est mildness, we see tending in every single product towards
determination, and is at first, before all else, hard and con
fined .
As the entire creation is but a work of the highest mani
festation, the artist must first deny himself, and descend into
the particular, not shunning the remoteness nor the pain , nay ,
torment of form . From her first works nature is throughout
characteristic: the power of fire, the flash of light, she conceals
in the hard stone ; the pure soul of melody in severe metal;
even on the threshold of life, and while meditating on organic
THE PLASTIC ARTS AND NATURE. 13
form , she sinks, overpowered by the might of form , into petri

faction .
The life of the plant consists in a quiet receptivity ; but to
what accurate and severe limits is this passive life confined ?
InP the animal kingdom the conflict between the life and
form seems first to begin ; indeed, her first works she conceals in
hard shells ; and where these are laid aside, by the constructive
instinct, she joins the animated world to the domain of crys
talizations; at last she steps forth more boldly and freely, and
active living characters appear , which are the same through
the whole species. Art, indeed , cannot commence so deep as
nature.
If beauty is everywhere present, there are also different de
grees of appearance and development of the being or esssence ;
and thus of beauty ; but art requires a certain fulness of beauty,
and will not strike a single tone or sound, nor even a separate
accord, but the whole full -voiced harmony of beauty at once .
Therefore does it seize immediately, and with the greatest
delight, on the highest and most fully developed — the human
form - for, as it is not granted to art to embrace the immeasur
able whole, and as in all other creatures merely fulgurations,
· but in man alone full and entire being, without fault appears,
it is not only allowed, but called upon to behold all nature in
man .
But even for the very reason that it here assembles all in
one point, it repeats her entire maniformity, and retraces in an
inner circle the same path that she proceeded on in her wide cir
cumference .
Here arises the demand on the artist, first, to be true in the
particular, that the whole may appear perfect and beautiful.
Here it is to wrestle with that creative spirit of nature which
in the world of man spreads character and form in infinite
maniformity ; and not in loose and weak, but in strong and
courageous, conflict.
A constant practical perception of that by which the quali
ties of things become positive must keep him from emptiness,
с
weakness, and inward nonentity, before he can venture, by a

still higher connexion and ultimate intermelting of manifold
forms, to arrive at the highest beauty in forms of the greatest
simplicity, and of infinite fulness and content.
Only by the perfection of form can form be annihilated ; and
this is certainly, in the characteristic, the ultimate aim of
art .
As, however, an apparent coincidence is to the empty soul
of more easy attainment, however internally worthless, so in art
is the quickly attained external harmony void of all fulness of
content; and thus theory and instruction have to counterbalance
the unintellectual imitation of beautiful forms, and chiefly that
inclination to an effeminate and characterless art, which indeed
gives itself higher names, but only thereby covers its incapacity
of fulfilling the first conditions of art.
That elevated beauty, in which the fulness of form annihi
lates form itself, was adopted by the new theory of art, after
Winkelmann , not only as the highest, but as the only standard .
But as the deep ground on which it rests was overlooked, it
happened that from the essence of an all -affirming idea a
negative one was conceived .
Winkelmann compared beauty to water drawn from the
bosom of the spring, which the less taste it had, the purer it
was esteemed .
It is true that the highest beauty is characterless; but is so ,
as we say of the universe, that it has no determinate dimen
sion, neither length, breadth, nor depth, because it contains all
in a like infinity ; or that the art of creative nature is formless,
because it is subjected to no form . In this, and in no other
sense , can we say that the art of the Hellenists, in its last.
.
perfection , elevated itself to the characterless. But it did not

tend immediately -to this. From the restraints of nature it
elevated itself first to a godlike freedom ; no light, self - sown
seed, but a deep -planted kernel was necessary to the growth
of that heroic plant.
Only mighty emotions of the feelings, only deep -stirrings of
1
the fancy , by the conception of an all -ruling power in nature,

could implant that unconquerable energy in art, with which it,
from the harsh and confined severity of the early forms, to the
works of overflowing, sensuous grace, departed not from truth,
and intellectually created the highest essential reality which it
is granted to mortals to behold .
As their tragedy commences with the great character in
morals, so their plastic art began with the severity of nature ;
the stern goddess of Athens was its first and only Muse.
This epoch is marked by that style which Winkelmann deno
minates the harsh and severe, from which the next, or high
style, could only develop itself by the elevation of the cha
racteristic to the noble and simple. Thus, in figures of the
most perfect or godlike natures, not only must every fulness of
form of which human nature is capable be present, but this
presence must be of such a kind that we could ourselves
imagine it in the world — viz., the lower qualities, or those
referring to some subordinate peculiarity, must be compre
hended under a higher, and all under a highest, in which they,
as particulars, reciprocally counteract each other, but in being
and energy still subsist. Thus, though we cannot call that
high and self -sufficing beauty characteristic, in so far as we
thereby denote confinement or limitation of appearance , still
the characteristic works imperceptibly in it, as in the crystal,
- which, though translucent, has not the less its own texture ;
every characteristic element weighs, though ever so softly, and
tends to produce the elevated equipoise of beauty.
The outward basis of all beauty is the beauty of form ; but
as form cannot be present without essence, so wherever form
is, is also, in visible or appreciable presence, character ..
1
Characteristic beauty, then , is beauty in its parts, from
which beauty is developed as its fruit.
The essence, indeed, outgrows the form ; but, even then,
A the characteristic remains the ever - operative groundwork of
beauty .
That most excellent critic, to whom the gods have granted
: 16 ON THE RELATION BETWEEN
nature as well as art for a kingdom , compares the characteristic,

in its relation to beauty, with the skeleton, in its relation to
the living form . If we were to use this most striking simile in
our sense , we should say , that the skeleton is not, in nature,
separate from the living whole, as in our thoughts; that, firm
and soft, determining and determined, cach pre -suppose the
other, and could only co -exist; and that even therefore the living
characteristic is the resulting form of the interaction of bones
and flesh , of action and passion . Though art, as well as nature,
in her higher forms, withdraws the scaffolding of bones from
sight, it can never be opposed to form and beauty, since it
ceases not to form and determine both the one and the other .
• But whether that high and unimpassioned beauty should
remain the only canon in the arts, as it is the highest, seems
to depend upon the degree of extent and fulness with which
the particular art can work .
Nature, in her wide circumference, ever presents the higher
together with the lower ; creating in man the godlike, it brings
forth , in all other products, merely the material and ground of
that ; which must be, that in opposition with it, true being as
such may appear . To the more elevated order of men them
selves, the mass of mankind serves as a basis, in opposition to
which is manifested in the few the pure innate divinity, in legis
lature, government, and foundation of religion. Thus, where
art is more concerned with the maniformity of nature, there it
may and must make manifest, besides the highest degree of
beauty, also its foundation , and in a manner its material, in its
own forms.
The different forms of art here first unfold themselves in
the most important manner . Plastic, in the more confined
sense of the word, scorns to give its object space ; it contains
it in itself. But even this forbids its further extension ; indeed
it is forced to display the beauty of the universe almost in one
point. It must thus immediately strive after the highest, and
can only arrive at maniformity separately, and by the most
severe distinction of antitheses,
By separation of the purely animal in human nature, it suc

ceeds in forming, and that beautifully and satisfactorily, lower
creatures, the truth of which is taught us by the beauty of many
of the Fauns of antiquity ; it can even reverse its own ideal,
and, like the cheerful spirit of nature, parodying itself, as in
the repletion of Silenus's form , appear, by playful and toying
treatment, again free from the oppression of matter.
But plastic is ever forced entirely to isolate its works, that
it may be self - consistent and a world for itself, as there is no
higher unity for it, in which the dissonance of the particular
can be harmonised .
On the other hand, painting can more measure itself with
the world , and create in an epic diffuseness.
In an Iliad there is room for a Thersites, and for what is
there not room in the great heroic poem of nature and history ?
Here the individual makes no impression ; the whole steps into
its place, and that which is not beautiful in itself is made so by
the harmony of the whole. If the highest degree of beauty
were everywhere spread over a large painting, which combines
its forms by the prescribed space, by light and shade, and by
reflection, the result would be the most unnatural uniformity, for,
as Winkelmann says, the highest idea of beauty is uniformly
but one, and allows but few variations; the individual would
then be preferred to the whole, instead of being everywhere sub
ordinated to it, where the whole is the result of many parts.
Thus, in such a work , degrees of beauty must be observed,
by which the full beauty concentrated in the mid point becomes
visible, and from a preponderance in the particulars the balance
of the whole arises.
Here the confined characteristic finds its place, and theory
should not so much direct the artist to that narrow spot where
all beauty is centrically assembled, as to the characteristic
maniformity of nature, by which alone he can give to a great
work the fulness of vital significance.
Thus thought, among the modern founders of art, the glorious
Leo . da Vinci ; thus, that master of elevated thought, Raffaelle,
C2
who preferred to give even small particulars of the character

istic, to appearing uniform , lifeless, and unreal ; he has not
only understood to produce these, but also to break their uni
formity by a difference of expression.
Thus, although character can express itself in the quiet and
balance of form , it is in its activity that it is first actually vital.
· By character we figure to ourselves an unity of many energies,
which constantly operates to produce a certain balance and
determinate measure for them , which is corresponded to, when
unagitated, by a similar balance of form . But if this living
unity must display itself in action and motion , it must be when
the energies are aroused by some cause to tumult and step out
of their equipoise. Every one knows that this is the case with
the passions .
Here we are met by the well-known demand of theory, which
desires that the expression of passion should be moderated , as
much as possible, in the actual outburst ; that the beauty of
form be not thereby injured.
We believe that we must rather reverse this rule, and ex
press it thus: that passion must be moderated by beauty itself;
for it is much to be feared that the desired moderation will be
understood negatively, while the true demand is, that a posi
tive force should be opposed to that of the passions.
For, as virtue consists, not in the absence of the passions,
but in the power of the spirit over them , so beauty is not pre
V
served by the banishment or moderation of them , but by the
power of beauty over them . The power of the passions must
actively display itself ; it must be evident that they might rage
ungovernably, but that they are repressed by force of charac
ter, and confined to the forms of firm and fixed beauty, as the
waves of a stream , which break upon the brinks that they ever
fill, but never over - pass.
Otherwise this enterprise of moderation might be compared
to that of those wretched moralists, who, the better to govern
man, corrupt his nature, and banish everything positive from his
actions so completely, that the people gloat on the appearance
of a great crime, that they may refresh themselves by the aspect

of something positive.
In nature and art, the essence first strives after actuality or
expression of itself in the particular ; therefore, the greatest
severity of forms shows itself at the commencement of each ;
for without limitation the limitless could not appear. If there
were no severity, mildness could not exist ; and if unity must
be felt, it can only be by force of individuality, isolation, and
antagonism . At first, therefore, the creative spirit appears lost
in the form , unapproachably locked up , and, even in the great,
still austere ; the more, however, it succeeds in uniting in one
creature its whole fulness, the more it parts with its austerity ;
and where it has fully developed the form , so that it rests in
and is satisfied with it, the more it contains itself within it, and
seems in a manner to rejoice, and begins to move in soft lines.
This is the state of the most beautiful flowers and fruits ;
where the pure vehicle stands perfect, the spirit of nature be
comes free from its bonds, and feels its relation to the soul.
As by a faint blush rising over the whole countenance, the
approaching soul announces itself; as yet it is not there, but all
things prepare themselves , by the soft play of tender move
ment, for its reception ; the rigid outlines melt, and moderate
themselves into soft ones ; a lovely essence , that is neither sen
suous nor spiritual, but yet incomprehensible, spreads itself
over the form , and enfolds all the outlines and tortuosities of
the parts.
This essence , incomprehensible, as we have said, and yet
appreciable by all, is what the Greeks called “ charis ,” and we
grace . Where, in a fully developed form , grace appears, there,
on the side of nature, is the work perfect; all demands are ful
filled .
Here already soul and body are in perfect harmony ; body
is the form , and grace the soul; not the soul in itself, but the
soul of form , the soul of nature.
Art may linger on this point; nay, stand on it ; for already
from one side is its whole task accomplished. The pure image
of beauty, arrested at this stage of development, is the goddess

of love. But the beauty of the soul itself, incorporated in
bodily grace, this is the highest deification of nature. The
spirit of nature is but apparently opposed to the soul, and is in
fact the instrument of its manifestation. It forms, indeed, the
antithesis of things, but only that thereby the unity of being, as
the highest grace and atonement of all powers, should ensue.
All other creatures are supported by the spirit of the world,
and thereby maintain their individuality. In man alone, as in
a mid point, rises the soul, without which the world would be
as nature without the sun .
The soul, then, is not the individualising principle in man ,
but that by which he elevates himself above all selfness ; it is
that by which he is capable of self- sacrifice and disinterested
love, and, what is the highest still, of the contemplation and
perception of the being of things, and thus of art.
The soul is not concerned with matter, nor immediately
connected with it, but only with the vital spirit, as the life of
things. Although appearing in the body, it is free from the
body, the consciousness of which only hovers over it like a light
dream , in the most beautiful shapes, by which it is not dis
turbed . It is no property, it is no possession, nor anything of
limits; it knows not, but is itself knowledge; it is not good,
but goodness itself; it is not beautiful, but is beauty in its
essence .
Primarily or secondarily, the soul of the artist shows itself,
indeed, in his work, by the invention in the particulars and in
the whole, when it hovers as unity in peaceful stillness over it.
It should , however, be visible in the performance as the original
power of thought, when human beings, fully informed with an
idea, are offered to a worthy contemplation, or as in -dwelling
and essential goodness.
Both find their evident expression even in the most peaceful
condition, but more lively, however, when the soul displays
itself in action and opposition ; and, as it is chiefly the passions
which destroy the peace of life, it is universally received, that
2.1
the beauty of the soul chiefly shows itself by peaceful power

in the storm of the passions.
But here an important distinction must be made. The soul
must not be called upon to moderate those passions which are
merely the outburst of lower powers of nature, nor can it be
displayed in oppositton to them ; for, where consciousness still
strives with them , the soul itself has not yet risen .
Those passions must be moderated by the nature of man , by
the power of the spirit of nature .
But there are higher occasions, when not merely a single
power, but when the conscious spirit itself, breaks through all
restraint; occasions when even the soul itself is subjected to
the bond which joins it to its sensuous existence — to the pain
which should be unknown to its godlike nature ; when man
finds he has to do, not merely with powers of nature, but with
moral energies, and feels himself attacked at the very core of
his being — when innocent error hurries him into crime, and con
sequently into misery, and the deep - felt injustice calls the holiest
feelings of humanity to revolt. This is the case in all truly,
and, in an exalted sense, tragic situations, as in those which are
offered us by the tragedies of antiquity. If the blind energies
of passion are aroused, the self -conscious spirit is also present,
as the preserver of beauty ; but if the spirit itself is hurried
away as by an irresistible force, what power can here protect,
watching over it, the holy beauty ? Or, if the soul suffers, how
can it save itself from torment and desecration ? Arbitrarily to
restrain the energy of pain , of tumultuous feeling, were to sin
against the aim and intent of art, and would betray a want of
feeling and soul in the artist himself. In that beauty, based
upon grand and constant forms, has become characteristic, art
has prepared for itself the means of manifesting the whole great
ness of feeling, without destruction of the symmetry.
For, where beauty, rests upon mighty forms, as upon irre
moveable pillars, a very small alteration of their relations, and
one which scarcely affects the beauty itself, allows us to infer
the great force which was necessary to bring it about.
Still more is pain sanctified by grace. It is necessary to the

being of grace that it should be unconscious of itself ; but as
it cannot be arbitrarily acquired, so neither can it be arbitrarily
lost; when an insupportable torment, when madness, inflicted
by the avenging gods, hurries away consciousness and thought,
it still stands by, as the protecting spirit, and prevents the suf
fering form from enacting anything ungraceful or unworthy of
humanity ; so that if it falls, it falls as a pure and unspotted
sacrifice .
Not yet the soul itself, but a presentiment of it, it produces,
by natural means, what that does by a divine energy, in that
it changes rigidity, nay, death itself, into beauty.
Still this grace, though preserved in circumstances of the
greatest difficulty, would be dead without its glorification by
the soul.
But what expression can it have in this state ? It delivers
itself from pain , and steps forth victorious, not conquered, in
dissolving its connexion with sensuous existence .
The spirit of nature may call forth all its powers for its sup
port ; the soul enters not upon this conflict, but its presence
softens the storm of even the painfully struggling life.
Every external force can deprive of external goods only, but
cannot reach the soul; can destroy a temporal connexion, but
not dissolve the eternal one of a truly divine love.
Not hard or feelingless, nor relinquishing love itself, itrather
displays it in pain , as the sense which outlives sensuous exist
ence, and thus elevates itself above the ruins of external life or
fortune in divine glory.
This is the expression of the soul, which the sculptor of the
Niobe has shown us in his statue. Every means of art, by
which the terrible can be softened, are brought into action ;
grandeur of form , sensuous grace ; even the nature of the sub
ject softens the expression, in that the grief, surpassing all ex
pression, neutralises itself ; and the beauty, which it seemed
almost impossible vitally to preserve, is saved from injury by
the commencing torpor.
Yet what would all this be without the soul, and how does
this manifest itself ? We see upon the countenance of the
the mother, not the grief alone for the flower of her children,
already stretched upon the ground --- not the mortal agony on
account of the still surviving youngest daughter, who has flown
to her bosom — not anger against the cruel deities — much less,
as has been pretended, a cold defiance. We see all this, but
not for itself, but through the grief, the anger, and the anguish ,
streams the divine light, the everlasting love, as the last re
maining feeling; in this is presented the mother as such, who,
not being one, still is, and by an eternal link remains, united
with the beloved ones.
Every one confesses that greatness, purity, and goodness of
soul, have their sensuous expression; how were this conceiv
able, were there not, in the active principle of matter, a soul
of related and similar essence ?
Thus, in the delineation of the soul, there are again grada
tions in art, either as it is united to the merely characteristic,
or visibly coalesces with the charming and graceful.
Who perceives not, in the tragedies of Eschylus, the same
high morality to prevail that dwells so naturally in the works
of Sophocles ? but in the former it is enveloped in a severe veil,
and communicates itself less to the whole, because the link of
sensuous grace is wanting.
Yet from this severity, and from the still terrible graces of
early art, could proceed the grace of Sophocles; and therewith
that perfect interpenetration of the two elements, which leaves
us in doubt whether it be the moral or sensuous grace which
enchants us in the works of this poet.
This holds good of the productions of plastic art of the still
severe style, in comparison with that of the later mildness. If
grace, beside being the glorification of the spirit of nature, be
also the means of connexion between moral goodness and sen
suous appearance , it is self -evident that art must tend from all
sides towards it, as its centre.
This beauty, which results from the perfect union of moral
goodness with sensuous grace, wherever we find it, seizes upon

and enchants us with the power of a miracle. For as the spirit
of nature elsewhere universally shows itself independent of,
and, in a certain sense , opposing the soul, so here it seems, by
a voluntary coincidence, and, as if by the inner fire of a di
vine love, to commingle with it ; and the beholder is over
taken with sudden clearness, by the remembrance of the ori
ginal unity of the being of nature and of the soul, by the certainty
that all antithesis or opposition is but apparent that love is
the bond of all being, and that pure goodness is the ground
and signification of the whole creation . Here art seems to go
beyond itself, and to make itself again a means to itself.
At this height, sensuous grace becomes merely veil and body
to a still higher life; what was before a whole is treated as
a part; and the highest relation of art to nature is thereby
arrived at, in that it makes nature the medium of manifesting
the soul in itself.
"But if here, in the flower of art, all former stages repeat
themselves ( as in the flower, in the vegetable kingdom ), still,
on the other side we may perceive in what different direction
art may proceed from this centre. In particular, the natural
difference of the two forms of creative art shows itself, here,
in its greatest force. For, in plastic, the highest seems neces
sarily in that it manifests its ideas by corporeal things) to
consist in the perfect equipoise between the soul and matter ; if
it gives to the latter the preponderance, it sinks beneath its
own idea ; but quite impossible does it seem to elevate the soul
at the cost of matter, since thereby it must overpass itself.
The perfect sculptor will indeed , as Winkelmann says on
occasion of the Belvedere Apollo, neither take more material
than is necessary for the execution of his intellectual intent,
nor, on the other hand, lay more energy in the soul than is at
the same time expressed in the material; for even therein con
sists his art, that he expresses the intellectual corporeally.
Thus, sculpture can only attain its highest excellence in
natures whose idea it brings with it — natures in which every
1
thing that they are in the idea, or soul, can at the same time
be likewise in actuality ; consequently, in godlike natures.
Thus, had no mythology preceded it, art would of itself
have arrived at and invented gods , had it not found them ;
further, since the spirit, in its lower developments, has the
same relation to matter that we have given the soul, in that
it is the principle of action and movement, as matter is of rest
and action, the law of moderation in the expression of the
passions becomes one flowing from the grounds of its nature;
but this law applies not only to the lower passions, but also to
those, if the expression may be allowed, more elevated and
divine, of which the soul is capable in rapture, devotion , or in
reverence ; thus, because the gods only are free from these
passions, art would be attracted, from this side also, to the pro
duction of godlike natures.
Painting, however, seems to me quite differently constituted
from sculpture; for the former represents not by bodily things,
but by light and shade, by an immaterial, and in a certain
sense intellectual means; it offers its works, too , by no means as
the things themselves, and wishes them to be looked upon ex
pressly as pictures ; it therefore lays not that stress upon the
material, in and for itself, that sculpture does; and appears,
from this cause , when elevating the material above the spirit,
to sink deeper below itself than, in a like case , sculpture does:
on the other hand, it appears, with the greater propriety, to
give an evident preponderance to the spirit.
In instances where it strives after the highest, it will cer
tainly ennoble the passions by character, moderate them by
grace, or manifest the power of the soul in them ; but on the
other hand, those higher passions which depend upon the rela
tion of the soul to a superior being are fully suited to its
nature.
If sculpture fully weighs that power, by which a being
exists externally, and by which it operates in nature, against
that by which it operates inwardly, and lives as a soul, and
thus shuts out mere passivity, even from matter, so, on the other
D
hand, may painting, here, moderate to the advantage of the

soul the character of power and action , and change it into that
of resignation and patience, through which , it appears, that
man is more fitted to receive the impressions of the soul and
general higher influences.
From this opposition alone, the predominance of sculpture
in the ancient, and of painting in the modern world, explains
itself, since the mode of thought in the former was thoroughly
plastic, while that of the latter makes the soul the passive organ
of higher revelations. This also is evident, that the endeavour
after the plastic in form and expression is by no means suf
ficing; that, before all things, it would be necessary , that we
thought and felt in the antique manner, i. e. plastically. But
if the deviation of plastic into the sphere of painting is an
injury to art, so also is the subjugation of painting to the con
ditions and requirements of sculpture an imposed limitation ,
equally arbitrary. For, if the former, like gravitation, tends
to one point, the latter may, like the creative light, fill the
whole universe.
This unlimited universality of painting is proved by its his
tory itself, and by the example of the greatest masters, who,
without injury to the essential nature of their art, have yet
brought every particular branch of it to perfection ; so that the
same continous progress, which could be developed from the
nature of the thing itself, we are also able to point out in the
history of art.
Not, indeed, in exact order of time, but yet of fact. For
thus is represented by Michael Angelo the mighty epoch of
liberated art, in which its yet unrestrained energy manifests
itself in gigantic offspring, in accordance with the poetic imagery
of a symbolical antiquity ; the earth , after the embrace of
Uranos, first brought forth Titans and heaven -storming giants,
before the soft reign of the tranquil gods arose.
Thus the last judgment, with which , as the brief abstract of
his art, that intellectual giant filled the Sistine chapel, appears
to remind us rather of the first ages of the earth than of the
last. Deeply attracted by the most occult grounds of organic

and chiefly of human form , he avoided not the terrible ; indeed,
he rather sought it purposely, and called it up from its rest,
in the dark operations of nature.
Want of tenderness, grace, and pleasingness, he replaces' by
the most extreme energy; and if he arouses terror by his deli
neations, it is the terror which, as the old fable says, the god
Pan spreads around him , when he suddenly appears in the
assemblies of man . Nature commonly produces the extraor
dinary by separation and exclusion of opposing qualities; thus
it was necessary that earnestness and deep -thinking natural
energy should , in the soul of Michael Angelo, outweigh the
sense of grace and feeling, that the highest pure plastic energy
might be manifested in modern art. After the softening of the
first force and violent impulse of birth, the spirit of nature
becomes more clear of soul, and the graces are born. Art
arrived at this stage of development, after Leo. da Vinci, in
Correggio, in whose works the sensuous spirit is the effective
groundwork of beauty; and this is not only apparent in the
soft outlines of his figures, but also in his forms, which are
most similar to the pure sensuous forms in the works of the
ancients. In him blooms the true golden age of art, like that
granted to the world under the mild rule of Saturn ; here
playful innocence, joyful desire, and childlike pleasure, smile
from open and happy faces; here are celebrated the Saturnalia
of art.
The general expression of this sensuous feeling is in the
clair -obscure, which Correggio has wrought out more than any
other; for that which supplies to the artist the place of matter
is shade ; this is the material to which he must fasten the fleet
ing appearances of light and mind.
Thus, the more light and shade are melted into one another,
so that of both there results but one being, as it were body and
soul, the more the spiritual appears corporeally — the more the
corporeal is elevated to the rank of spirit.
After the limits of nature have been overcome, and the
exaggerated, the fruit of the first freedom , has been repressed,

and form and configuration have been endued with beauty by
the presentiment of the soul, the heavens clear up — the soft
ened earthly can unite itself with the heavenly, and this again
with a softened humanity . Raffaelle takes possession of joyful
Olympus, and carries us away with him from the earth into
the assembly of the gods — of the immortal happy beings. The
bloom of the most cultivated life, the perfume of fantasy, toge
ther with the roots of the intellect, breathe jointly from out his
works; he is not mere painter - he is, at the same time, poet
and philosopher ; the power of his soul stands at the side of
wisdom ; and, as he represents things, so are they ordered in
the eternal necessity.
In him has art reached its summit ; and as the pure equi
poise of the divine and human can almost only be in one point,
so it is in his works that that unique impress is to be found.
From this point that it might develop all possibility
grounded in it) painting could only proceed in one direction ;
and whatever was undertaken by later revivals of art, and in
whatever different direction endeavour has been made, but one
seems to have succeeded in closing the circle of great masters
with a kind of necessity. As the circle of the ancient fables
of the gods closes with the modern one of Psyche, so could
painting, by giving preponderance to the soul, accomplish one
more stage in art, though not a higher one.
This was the aim of Guido Reni, and he became in a pecu
liar manner the painter of the soul; thus, it appears to us,
must be interpreted his entire endeavour, so often uncertain ,
and which in many of his works loses itself in vagueness.
The key to this may be found, and perhaps in but few other
of his works, in his masterpiece, in the gallery of our king ,
there open to the wonder of us all. In the form of the as
cending virgin is every plastic harshness and severity, to the
last trace, destroyed ; indeed, in her, painting itself appears ,
like the liberated Psyche, emancipated from hard forms to
flutter its own pinions in glory.
THE PLASTIC ARTS AND NATURE . 29 .
Here is no being that, with a decided natural power , works

externally on nature ; everything in her expresses receptivity
and quiet patience, even to that perishable flesh, whose pecu
liarity the Italian language expresses by morbidezza ; quite
different from that with which Raffaelle endows his descending
Queen of Heaven, as she appears to the adoring pope and saint.
If, indeed, there is any ground for the assertion, that the
original of the female heads in Guido is the antique Niobe, the
reason of the similarity lies, certainly not in intentional imita
tion ; perhaps a similar endeavour may have led to like means.
If the Florentine Niobe is the extreme of plastic, and the ex
pression of passion therein , so our well -known picture is the
extreme of painting, which here seems to lay aside the very
want of shadow and obscurity, and ventures to work almost in
pure light.
Yet though painting may be allowed, on account of its par
ticular constitution, to lay an evident stress upon the soul, it
would still be better for theory and doctrine ever to tend to
wards that synthesis from which alone art may ever be new
begotten ; since, on the side of the last -mentioned stage of
development, it must ever be stationary, or deteriorate into a
confined mannerism .
For, even that exalted passion is inconsistent with the idea
of a perfectly energetic being, whose image and reflection it is
the calling of art to display. A right feeling will ever rejoice
in beholding a being individually, nobly, and, as far as possible,
self -developed ; yea, the Godhead would look down with plea
sure upon a creature who, gifted with a pure soul, maintained,
in the external world, the dignity of his nature by his sen
suous active existence.
We have seen how the work of art, growing up from the
depths of nature, commences with determination and confine
ment, developes internal infinity and fulness, and at last, puri
fying itself to grace, finally arrives at soul; but that which in
the creative act of mature art is but one operation, must be
conceived disjointedly.
D 2
No theory or rules can supply this spiritual power of produc

tion.
It is the pure gift of naturewhich here, for the second time,
concludes herself; in that she, returning upon herself, invests
the creature with her creativepower.
But, as in the great progress of art each gradation follows
the other, until in the highest they all become one ; even so
can , in the particular, no pure culture arise that has not de
veloped itself, in conformity with the law of nature, from the
very seed and root.
The demand that art, like every other living thing, should
proceed from the first beginnings, and , that it may vitally re
produce itself, should ever return back to these, may seem
a hard doctrine, in an age to which it is so often said, that it
may take the most perfect beauty from existing works of art,
already at hand ; and thus, with one step, arrive at the last
excellence . Have we not already the excellent, the perfect ,
why, then , should we return to the initiative and undeveloped ?
Had the great founders of modern art thought thus, we
indeed should never have seen their wonders; before them
also stood the works of antiquity - round statues and bas
reliefs — which they might have directly transferred to their
pictures.
But this appropriation of a beauty, not earned by itself, and
so not understood, satisfies not an instinct of art, which tends
directly to the original, and from this, in freedom and primal
energy, developes for itself the beautiful.
They shunned not to appear simple, artless, and dry, beside
those exalted ancients ; nor to nourish art, long in the un
apparent bud, until the time of grace arrived .
Whence comes it, that we still behold the works of those
ancient masters, from Giotto to the teachers of Raffaelle,
with a kind of worship, and even partiality, if not, because
the faithfulness of their endeavour, the grand seriousness of
their quiet and voluntary confinedness, forces from us our esteem
and wonder ?
In the same position that these stood to the ancients, stands

the present race to them .
Their time and ours is joined by no vital tradition — by no
link of organically -continued culture ; we must reproduce art
in their manner , but with peculiar individual energies, if we
would be like them .
Even that after - summer of art, at the end of the 16th and
commencement of the 17th centuries, was able indeed to call
forth a few new flowers from the old stem , but no fruitful seed,
much less to plant a new stem of art. But to set aside the
works of full -developed art, and to hunt up its still simple
and homely commencements, to imitate them , as some have
wished, this were a new , and perhaps still greater, misunder
standing; this would not be going back to the original, and
thus simplicity would become affectation and mere hypocritical
show . But what prospect would the present time offer to an
art, springing from a fresh germ and root ? Art is, indeed , in
a great measure , dependent upon the temper of the times; and
who dare promise to such serious beginnings the praise of the
present, while art scarce arrives, on the one side, to equal
estimation with other means of extravagant luxury ; and while,
on the other, artists and amateurs, with a complete incapacity
to comprehend nature, yet praise and demand the ideal ?
Art arises from that most lively movement of the spirit and
· feelings which we call enthusiasm .
Everything which , from small or difficult beginnings, has
risen to great power and height, has done so by enthusiasm ;
thus it is with kingdoms and states, arts and sciences.
The power of the individual is insufficient — the spirit only,
which spreads itself through the whole body, can accomplish
it; for, as the more tender plants are dependent upon the air.
and weather, so is art most completely on the general feeling ;
is stands in need of an universal enthusiasm for the elevated
and beautiful; such as that which, in the Medicean age, like
the warm breath of spring, called forth at once , and on the
spot, all the great spirits; of a constitution, like that which
---
Pericles delineates in his praise of Athens, and which the

mild government of a paternal ruler grants to us, far more
surely and certainly than could any democracy ; of a constitution,
where every energy is in voluntary action , where every talent
shows itself with joy, because every one is valued at his worth ;
where subserviency is shame, where the common place brings
no praise, but where all strive after a high -placed and extra
ordinary aim .
Then only — when public life is animated by the same power
by which art is elevated — then only can art expect advancement
from it ; for art cannot, without forfeiting the nobility of its
nature, direct itself towards any outward consideration .
Art and science can only revolve on their own axes. The
artist, like every intellectual operator , can only follow that_law
which God and nature have written in his heart,no - other.
No one can help him , he must help himself;neither can he
be externally rewarded, for that which he has not brought
forth for its own sake is worthless.
For this cause also, no one can even direct him , or prescribe
the way for him in which he should walk . If he is greatly to
be pitied when he has to combat with his time, he equally
deserves contempt when he fawns upon it. And how can he
accomplish even this ? Without a great and universal enthusiasm ,
there is but a sectarian and no public opinion — no fixed taste,
no great idea of a whole people; but the voices of single and
arbitrarily established judges pronounce upon merit; and art,
which , in its elevation, is self - sufficing, fawns for favour, and
V becomes a servant where it should be dictator.
To different ages is accorded a different inspiration. Dare
we expect none for the present time, while the new , now self
forming world as it already exists, partly externally, partly in
ternally, and in feeling, can no longer be estimated by all the
measures of past opinion ? While rather all things seem to call
aloud for ater things, and thus to proclaim an entire reno
vation , should not that spirit, to which nature and history is
again vitally opened, also give back to art its great objects ?
To grope among the ashes of expired fires, and from them to

wish again to kindle an universal flame, is a vain endeavour.
A change alone, which shall take place in ideas themselves, is .
capable of elevating art from its exhausted state ; a new know
ledge, making possible a new faith, is alone capable of in
spiring it to the work , by which in a new life it may reveal a .
glory like that of old .
An art, indeed, which should be in all respects the same as
that of former centuries, will never recur, for nature never
repeats herself.
Such a Raffaelle will never be again ; but another, who, in
a like individual manner, will arrive at the highest in art.
Let only those primary conditions be not wanting, and re
animated art will, like the earlier, show forth in its first works
the aim of its destiny. In the culture of the truly character
istic , it developes itself from a fresh original power ; grace,
though veiled, is still present, and in both is the soul already
-prefigured. Works that arise in such a mannerare, even in
their commencing incompleteness, necessary and immortal.
We venture to confess it, that in this hope of a new birth
of an entirely characteristic art we have our fatherland chiefly
in view . Did not, at the same time that art awakened in
Italy, from our native Germany arise that vigorous growth of
art in our great Albert Durer ; how peculiarly German, and
yet how closely related to those whose sweet fruit thé milder
sun of Italy brought to the highest maturity !
This people, from whom has proceeded the revolution in the
mode of thought of Europe, whose intellectual power is testi
fied by the greatest discoveries; who have given laws to the
heavens, who of all have most deeply studied the earth ; in
whom nature has implanted an unperverted sense of right, and
a love of the knowledge of first causes, deeper than in any
other - this people, must end in a characteristic art.
If the state of art is dependent upon the universal fate of
the human mind, with what hope may we contemplate our
peculiar fatherland, where a noble governor has given to the
34 ON THE RELATION , ETC.
understanding freedom , to the spirit wings, and realization to

the ideas of philanthropy ; while a pure people still preserve
the living germs of ancient art, and with them the ancient
seats of old German art.
The very arts and sciences, were they elsewhere universally
banished , would find an asylum under the shelter of that throne
on which mild wisdom directs the sceptre; which graciousness
as a queen adorns; which an hereditary love of art makes illus
trious; by which the young prince, who this day receives the
acclamations of a grateful country, has become the wonder of
foreign nations; here would they find the seed of a future and
vigourous existence universally diffused ; here already proved
community of feeling, and firm among the changes of time,
at least the bond of one love, of one universal enthusiasm ; of
that for the fatherland and for the king, for whose health and
preservation, to the utmost limit of human years, can, day,
more ardent wishes nowhere rise than in this temple, which he
has erected to the sciences.
11
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Poems. By Ralph Waldo Emerson.
Post 8vo. 63. cloth gilt.
“ There are in these stanzas many the deep sympathy and intercommu
a fine image and sometimes a cluster nion with nature, the calm , manly, and
of such - scattered symbols of deep sig- self-reliant philosophy which may be
nificance - and the presence of sincere gathered from some of these poems :
and earnest thinking everywhere... recognizing here and there touches of
A wild low musicaccompanies these the most exquisitedelicacy and beauty ,
artless strains ; an indistinct, uncertain pointing to that “ wise passiveness" of
melody - such a tune as an untaught the soul which is one of thc chief cha
musical nature might choose to itself in racteristics of his other writings — and
solitary , places..... There are some thanking him for his subtle, but wise
times stanzas which aresuggestive, not and well-timed reproofs ofthat prevail
only in a political relation , but in one ing restlessness, that living in the eye
far higher - as touching those social re of the world , that “ fretfulstir unprofit
forms which now everywhere command able,” which are the reprehensible fea
the attention of society. Some portions tures of American as well as European
of a series of poems entitled Wood life -- we cannot but regret that he has
Notes,' are in their peculiar way yet not used all the aids at his command , to
finer ; and the entire succession has give his ideas a wider reception, by
been enthusiastically received on the enunciating them in a less oracular
other side of the Atlantic." — Athenæum . and transcendental form ." — Manchester
“ There are in this volume unmistake Examiner.
able evidences of genius ; thesoul of “ His lines are full of meaning .” —
the poet flashes out continually ; and Inquirer.
thehand of the poet is seenoften .” “ To read his finer pieces is to our
Critic . poetic feeling like receiving a succes.
“ He occasionally reminds us of the sionof electric shocks ;....even his un.
reflective depth of Wordsworth ; and shaped fragments are not bits of glass
sometimes evinces a delicate fancy and but of diamond, and have always the
richness of epithet worthy of Tennyson. true poetic lustre. We know of no
We admit that the more we read compositions that surpass his in their
these poems, the more we see in them ; characteristic excellence ." - Christian
acknowledging the profound verities, Examiner.
The Dramas of Iphigenia in Tauris, and Torquato Tasso, of

GOETHE ; and the MAID OF ORLEANS, of SCHILLER. Translated ,
(omitting some passages,) with Introductory Remarks, by ANNA SWANWICK .
8vo, cloth ; 68.
“ It is seldom that we meet with a are very beautiful; and while they will
translator so competent as the lady serve to make the mere English reader
who has here rendered these selections acquainted with two of the most perfect
from the two great poetsof Germany works ever written, the Iphigenia and
into elegant and vigorousEnglish verse. the Tasso , theywill form useful assist
The Iphigenia' of Goethe has been ants to those who are commencing the
already welldoneby Mr. William Tay- study of the German language.” - FO
lor, of Norwich ; but his version is not, reign QuarterlyReview .
by many degrees, so readable as the “ This English version presents these
one before us. " -Athenceum . poems to us in a garb not unworthy of
“ We have to congratulate the trans the conceptions of their authors. ”
lator on perfect success in a very diffi- | Morning Chronicle.
cult task .” — Dublin University Magazine. “ The verse is smooth and harmo
“The translator has gone to her nious, and no one acquainted with the
beautiful task in the right spirit, ad- originalcan fail tobestruck with its
hering with fidelity to the words of the great fidelity and accuracy." - Christian
original, and evidently penetrating the Teacher.
mind of the poet. The translations
John Chapman, 121 , Newgate- street. 3
Shakspeare's Dramatic Art, and his relation to Calderon and

Goethe. Translated from the German of Dr. HERMANN ULRICI. 8vo. 128.
cloth.
Outline of Contents.
1. Sketch of the History of the Eng IV. Criticism of Shakspeare's Plays.
lish Drama before Shakspeare. v. Dramas ascribed to Shakspeare of
-R. Greene and Marlowe . doubtful Authority .
II . Shakspeare's Life and Times. VI. Calderon and Goethe in their rela .
III . Shakspeare's Dramatic Style , and tion to Shakspeare.
Poetic View of the World and
Things.
“ We strongly recommend the book brought against him by critics on both
to the notice of every lover of Shaks sides of theAtlantic. Dr. Ulrici boldly
peare, for we may truly say that it is claims for him the rank of an emi
well calculated to fill up a void in our nently Christian author. .... Thepre
own as well as in German literature." -- sent work is the least German of all
Westminister Review , German books, and contains remark
“ Theauthor has the Philosophic able novelty in its views of the subject
depth , which we vainly look for in and the arrangement of itstopics. The
Schlegel'scriticism of the great poet.” | plan adoptedby Dr. Ulrici of contem
-The Dial. plating each play in the light of a
“ We welcome it as an addition to our central idea is especially deserving of
books on the national dramatist - ex all praise....Werecommend the entire
haustive, comprehensive, and philo criticism to the perusal of the judicious
sophical after a scholastic fashion, and reader.” -Athenaeum .
throwing new lights upon many things “ We welcome this work as a valu
in Shakspeare.” — Spectator. able accession to Shaksperian litera
“ The work of Uírici in the original, ture. It is the principal object of Dr.
has held , ever since its publication a
,n Ulrici's criticisms of the several plays,
honoured place upon our shelves. We to trace and bring to light the funda
consider it as being, when taken all in mental and vivifying idea of each . In
all, one of the mostvaluable contribu this difficult task we think he has
tions ever made to the criticism of been eminently successful. . We can
Shakspeare. The theoretical system not dismiss this very valuable work,
upon which it rests, if not altogether which breathes a tone of pure and ex
accurate or completely exhaustive, is, alted morality, derived from a mind
at all events, wide and searching ; its truly religious, and whose holy and
manner of expression is almost every. chastening influence expresses itself
where clear and practical, and its throughout, without remarking how
critical expositions are given with much we admire the excellent manner
equal delicacy offeeling and liveliness in which it is translated .” — Inquirer.
of fancy. Here there are treated , “ Excellencies of a high order per
successively , Shakspeare's language, vade this performance,which, in our
his mode of representing characters, judgment, entitle it to the grateful re
and his dramatic invention .... ception of all who are desirous of be
. :: · . Our author has not only spoken coming, Shakspeare.
better acquainted with the
with excellent good sense , but has mind of The sketch
placed one or two important points of of the modern dramatic art with which
Shakspeare's poetical character in a the book opens, as well as of the life of
clearer light than that in which we are Shakspeare, is well drawn ; indeed,the
accustomed to regard them . Shakspeare historical sketches throughout are ad
is shown to be the historically -dramatic mirably executed.......The author's
poet of enlightened Christianity ; and views are ingenious, and the criticisms
the highest value of his works consists on the several dramas are admirable,
in their adequately representing, in the and will fully repay the reader's study .”
light of imagination , the Christian -Nonconforinist.
prospectof man's mysterious destiny." “ Ulrici's admirable • Shakspeare's
-Taiťs Magazine, Dramatic Art has been lately trans
“ A good translation of Dr. Ulrici's lated with considerable skill. We re
work on Shakspeare cannotfail of being commend the work as an addition to
welcome to the English thinker. It is, our higher critical literature, and we
in fact, a vindication of our great poet should like to recur to it more fully .”.
from a charge which has lately been Christian Remembrancer .
De Wette's Introduction to the Canonical Scriptures of the Old

Testament. Translated by THEODORE PARKER. 2 vols. 8vo. £ 1 . 4s. cloth .
1
Translations from the German of Jean Paul, Novalis, Goethe,

UHLAND, RUCKERT, and from the French of MICKIEWICZ , an eminent
Polish poet. By HENRY REEVE, Esq., and JOHN EDWARD TAYLOR . 12mo.
Elegantly bound in cloth, 2s, 6d.
“ Of all these translations the chief dress purely English ." - Sunday Times.
praise is that they are executed with “ Each extract is a gem .” - Critic.
singular delicacy, taste, and power, so “ These translations are executed
that they read like so many finished with great success, and introduce the
originals. This applies equally to the English reader to a few passages of
verse, and to the prose. In the scene eminent beauty ,favourably exhibiting
from Goethe's “ Tasso" the verse flows the genius of the several writers .'
melodiously , and the ideas put on a Inquirer.
Characteristics of Painters.
By HENRY REEVE, Esq. Second Edition. 8vo. Elegantly bound in cloth , 38.
Though apparently addressed to a general characteristics in such vital
narrow circle, these poems possess union in these sketches, that they affect
charms for allpersons who happen to us somewhatlikethepicturesthemselves.
be endowed with fancy or sensibility. As criticisms, they show a keen sensi
They seek to express and devolope the bility to excellence, and the utmost
principle which presided over the crea delicacy of discrimination ; and as
tions of the great masters of the mime poems, theyare distinguished by con
tic arts, and in most instances touch densation of thought, brilliant clear
with judgmentexcellences
characteristic and sagacityofon each ness of expression
the sification , and
.” — Morning melody of ver
Chronicle.
painter, and felicitously describe his “ Every lover of Art must read them
manner_of representing nature. ” with pleasure, and they may contribute
Sunday Times. not a little to awaken a taste for art.”
“ Tlie associations connected with | Inquirer .
particular pictures are blended with
Historical Sketches of the Old Painters.

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The Life of Jesus, Critically Examined .

By Dr. DAVID FRIEDRICH STRAUSS. 3 vols. 8vo. £ 1 16s. cloth .
“ The extraordinary merit of this science on the one hand, and the ne
book .... Strauss's dialectic dexterity , cessities of the age on the other, freely
his forensic coolness, the even polish of justify the line of criticism whichhe has
his style, present him to us as the ac- adopted — and all the opposition made
complished pleader, too completely to it from so many quarters may be in
master of his work to feel the tempta- terpreted as a requisition to a still
tion to unfair advantage or unseemly deeper and more fundamental pursuit
temper ....We can testify that the of that critical process which he has
translator has achieved a very tough begun .” — Dr. Ferdinand Christian Bauer,
work with remarkable spirit and fideli- Professor in Ordinary of Evangelicaí
ty. The author, though indeed a good Theology in the University of Tubingen ,
writer,could hardly have spoken better " Whoever reads these volumeswith
had his country and language been out any reference to the German, must
English . Thework has evidently fal- be pleased with the easy,perspicuous,
leninto the hands of one who has not idiomatic, and harmonious force of the
only effective command of both lan- English style. But he will be still
guages, but a familiarity with the sub more satisfied when, on turning to the
ject-matter of theological criticism , and original, he finds that the rendering
an initiation into its technical phraseo- is word for word, thought for thought,
logy." - Westminster and Foreign Quar. and sentence for sentence. In pre
terly Review , 1847. paring so beautiful a rendering as the
“ With whatever amount of appre- present, the difficulties can haye been
hension the results of Strauss's criti neither few nor small in the way
cism may be contemplated , it remains of preserving, in various parts of the
incontestably true that the claims of work, the exactness of the translation ,
John Chapman, 121 , Nerogate-street. 5
combined with that uniform harmony serious and earnest spirit .” — Christian
and clearness of style, which impart | Examiner.
to the volumes before us the air “ The position which the Historical
and spirit of an original. A modest Scriptures occupy in Strauss's system
and kindly care for his reader's con does not seem to have attracted suffi.
venience has induced the translator cient attention among ourselves. It
often to supply the rendering into Eng. addresses itself, as will have been
lish of a Greek quotation , where there already observed, to a higher element
was no corresponding rendering into in the mind than the common reluct
German in the original. Indeed, ance to acquiesce in supernatural narra
Strauss may well say , as he does in the tives .... There is not an objection, a
notice, which he writes for this English cavil, or rational solution which isnot
edition, thatas far as he has examined instantly fused and incorporated into
it, the translation is, “ et accurata et his system .” — Christian Remembrancer.
perspicua.' ” — Prospective Review . “ À work which is acknowledged, on
" Inregardto learning, acuteness, and all sides, to be a master-piece of its
sagacious conjectures, the work resem- kind, to evince signs of profound and
bles Niebuhr's. History of Rome.' The varied learning, and to bewritten in a
general manner of treating the subject spiritofseriousearnestness." — West.Rev.
and arranging the chapters, sections, “ I found in M. Strauss a young man
and parts of the argument, indicates full of candour, gentleness,andmodesty
consummate dialectical skill ; while the --- one possessed of a soul that was al
style isclear, the expression direct, and most mysterious, and, as it were, sad
the author's openness in referring to his dened by the reputation he had gained .
sources of information,and stating his He scarcely seems to be the author of
conclusions in all their simplicity, is the work under consideration .” — Quinet,
candid and exemplary ...... It not only Revue des Mondes.
surpasses all its predecessorsof its kind “ Strauss istoo candid to be popular.”
in learning, acuteness, and thorough -Voices of the Church , by the Rev. J. R.
investigation, but it is marked by a Beard, D.D.
A Discourse of Matters pertaining to Religion,
By THEODORE PARKER . Post 8vo. 78. cloth.
CONTENTS :
Book 1. - Of Religion in General; or, Book 4. - The Relation of the Religious
a Discourse of the Sentiment and its Sentiment to the Greatest of Books ;
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Book 2.-The Relation of the Religious | Book 5.-The Relation of the Religious
Sentiment to God ; or , a Discourse Sentiment to the Greatest of Human
of Inspiration . Institutions ; or , a Discourse of the
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cere, afford proof that he is less eager incapacity of the author . From the
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but seems absolutely to require a mas consistency and boldness about it which
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they do vibrate, will make the ears in candour nor promises ; and what.
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an age which deals in broad and ex certainly find bearers.” _ Christian Re
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and assigns to every fact a place, the writings of Theodore Parker with
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Mr. Parker's view may have, it meets quence - eloquence as remarkable for
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and promising enough ; it is not afraid for the genius by which it is inspired .
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It demands a hearing ; it speaks with and goodness which they manifest.”.
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1
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* PROSPECTIVE REVIEW, it is intended to lay no claim to Discovery , but simply
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Works for Review to be sent to the Publisher or Editors; Advertisements in
all cases to the Publisher.
Will be Published on the 15th of May .

The Evidences of the Genuineness of the Gospels.
By ANDREWS NORTON, Professor of Sacred Literature, Harvard University ,
Massachusetts. 2 vols. 8vo. El cloth .
There will be about fifty pages of new matter in the first volume, and this
edition of the work will embody throughout various alterations and corrections
made by the author at the present time .
THE Work consists of three Parts, as follows :
PART I.
PROOF THAT THE GOSPELS REMAIN ESSENTIALLY THE SAME AS THEY WERE
ORIGINALLY COMPOSED .
PART II.
HISTORICAL EVIDENCE THAT THE GOSPELS HAVE BEEN ASCRIBED TO THEIR
TRUE AUTHORS.
PART III.
ON THE EVIDENCES FOR THE GENUINENESS OF THE GOSPELS AFFORDED BY
THE EARLY HERETICS.
The very copious Notes appended to each volume constitute about half the
amount of the entire work, the principal subjects of which are as follows :
CONTENTS OF THE NOTES.
NOTE 1. Further remarks on the NOTE III – Undisputed Interpolations
present state of the Text of the Gos in Manuscripts of Gospels .
pels. Note IV .-- On the Origin of the Cor
NOTE II.-- Various readings of the respondences among the first three
copies of the gospels extant iu the time Gospels.
of Origen , which are particularly NOTE V. - Justin Martyr's Quota
noticed by him . tions.
John Chapman , 121 , Newgate -street. 13
NOTE VI.-On the Writings ascribed NOTE XI.- On the Distinction made
toApostolical Fathers. bythe Ancients between Things Intel.
NOTE VII.-On the Statue which is ligible and Things Sensible ; on the use
said byJustin Martyr,and others,to have of the Terms Spiritual and Material, as
been erected at Rome to Simon Magus. applied to their Speculations; and on
NOTE VIII.-On the Clementine the nature of Matter.
Homilies. NOTE XII.-On Basilides and the
NOTE IX .-- On the false Charges Basilidians.
brought against the Heretics, parti NOTE XIII.-On the Gospel of Mar.
cularly bythelater Fathers. cion .
Note X. - On the Jewish Dispensa. NOTE XIV.-On the use of words
tion, Pentateuch, and the other books ΘΕΟΣ and DEUS..
of the Old Testament.
NOTICES OF THE WORK .

“ Professor Norton has devoted a | the whole of the work , as the German
whole volume full of ingenious reason would say, belongs to the history of
ing and solid
Gnostic sects learning, to show
of the second that the
century ad pure
Norton'sreason ,' The
views originality
is one of theirofmost
Mr.
mitted in general the same sacred books striking characteristics. He does not
with the orthodox Christians. How deem it necessary, as too many theo
ever doubtful may be his complete suc- logians have done, to defend the records
cess, he has made out a strong case, of his faith by stratagem . The conse
which , as far as it goes, is one of the quence is, that his work is one of the
most valuable confutations of the ex most unanswerable books that ever was
treme German χωριζοντες, an excellent written . It comes as near to demon
subsidiary contribution to the proof of stration as the nature of moral reason .
the genuineness of the Scriptures.'*** | ing will admit.
His work on the Genuineness of the “ As an almost unrivalled monument
Scriptures is of a high intellectual of patience and industry, of ripe scho
order ." -Quarterly Review , March , 1846. larship, thorough research , eminent
“ This(the 2nd and 3rd volumes) is a ability, and conscientious devotion to
the cause
great work upon the philosophy of the claim respectful of truth , the work may well
early history ofour faith,and uponthe consideration . The
relations of that faith with thereligious reasoning is eminently clear, simple,
systems and the speculative opinions and direct; and abounds with the re
which then formed the belief or engaged sults of themost profound learning ."
the attention of the whole civilized North American Review .
world . The subject is one of vast com « The first volume of this work was
pass and itgreat
tunately importance;
has been and with
examined published
for- At the close long
so of ago author
it the year 1837.
as the announces
much thoroughness, caution, and inde his intention to pursue the argument,
pendence. The conclusions arrived at by inquiring into the evidence to be
are those of one who thinks for himself, derived from the testimony of the
-not created by early prepossessions, different heretical Sects. It is to this
norrestricied within the narrow limits part of the subject that the second and
of opinions peculiar to any school or third volumes, now before us, are
sect. The originality and good sense of directed,-which are evidently the
Mr. Norton's general remarks impress fruit of much labour, research , and
the reader quite as strongly as the accu extensive reading ; and contain a
racy of his scholarship ,and the wide variety of very curious incidental mat
range of learning with which the subject ter, highly interesting to the studer : of
is illustrated . His mind is neither ecclesiastical history , and of the human
cumbered nor confused by the rich store mind .
of its acquisitions, but works with the “ There are many interesting and cu
greatest clearness and effect when en rious discussions ofan incidental nature,
gaged in the most discursive and far- Among these we may particularly spe
reaching investigations. cify the remarkson the character ofthe
“ A great portion of thework, indeed , ancient philosophy in the third volume,
belongs to ecclesiastical history ; but it and a very curiousnote in the appendix
does not deal with the men and the to the same volume, on the distinctions
events ofthat history, it relates almost made by the ancients between things
exclusively to thoughts and theories. Intelligible and things Sensible, and on
It analyzes systems of philosophy ; it the nature of Matter.- Prospective Re
examines creeds ; it traces the changes view .
and theinfluences of opinions. Nearly
The Catholic Series . *
THE Publisher of “ The Catholic Series" intends it to

consist of Works of a liberal and comprehensive character,
judiciously selected, embracing various departments of literature .
An attempt has been made by the Church of Rome to realize
the idea of Catholicism — at least in form — and with but a
partial success ; an attempt will now be made to restore
the word Catholic to its primitive significance, in its appli
cation to this Series, and to realize the idea of Catholicism
in SPIRIT.
It cannot be hoped that each volume of the Series will be

essentially Catholic, and not partial, in its nature, for
nearly all men are partial ; -the many-sided and impartial,
or truly Catholic man, has ever been the rare exception
to his race . Catholicity may be expected in the Series,
not in every volume composing it .
An endeavour will be made to present to the Public
a class of books of an interesting and thoughtful nature,
and the authors of those of the Series which may be of a
philosophical character will probably possess little in com
mon, except a love of intellectual freedom and a faith in
human progress ; they will be united by sympathy of
SPIRIT, not by agreement in speculation .
* For List of Works already published in the series, see pages 16 to 24 .

-
John Chapman, 121 , Newgate-street. 15
CHARACTERIZATION OF THE CATHOLIC SERIES

BY THE PRESS.
“ The various works composing the “ Catholic Series,” should be known to

all lovers of literature, and may be recommended as calculated to instruct and
elevate by the proposition of noble aims and the inculation of noble truths,
furnishing reflective and cultivated minds with more wholesome food than the
nauseous trash which the popular tale -writers of the day set before their
readers.” — Morning Chronicle.
“ Too much encouragement cannot be given to enterprising publications
like the present. They are directly in the teeth of popular prejudice and
popular trash. They are addressed to the higher class of readers — those who
think as well as read. They are works at which ordinary publishers shudder
as ' unsaleable ,' but which are really capable of finding a very large public. ”
- Foreign Quarterly:
“ The works already published embrace a great variety of subjects, and
display a great variety of talent. They are not exclusively nor even chiefly
religious ; and they are from the pens of German, French , American, as well
as English authors. Without reference to the opinion which they contain, we
may safely say that they are generally such as all men of free and philoso
phical minds would do well to know and ponder.” --- Nonconformist.
This series deserves attention, both for what it has already given, and for
what it promises.” — Tait's Magazine.
“ A series not intended to represent or maintain a form of opinion, but to
bring together some of the works which do honour to our common nature,
by the genius they display, or by their ennobling tendency and lofty aspira
tions.”— Inquirer.
“ It is highly creditable to Mr. Chapman to find his name in connexion
with so much well -directed enterprise in the cause of German literature and
philosophy. He is the first publisher whoseems to have proposed to himself
the worthy object of introducing the English reader to the philosophic mind
of Germany, uninfluenced by the tradesman's distrust of the marketable nature
of the article. It is a very praiseworthy ambition ; and we trust the public
will justify his confidence. Nothing could be more unworthy than the at
tempt to discourage, and indeed punish, such unselfish enterprise, by attaching
a bad reputation for orthodoxy to every thing connected with German philo
sophy and theology. This is especially unworthy in the student, ' or the
scholar,' to borrow Fichte's names, who should disdain to set themselves the
task of exciting, by their friction , a popular prejudice and clamour on matters
on which the populace areno competent judges, and have, indeed, no judgment
of their own, and who should feel, as men themselves devoted to thought,
that what makes a good book is not that it should gain its reader's acquiescence,
but that it should multiply his mental experience ; that it should acquaint him
with the ideas which philosophers and scholars, reared by a training different
from their own, have laboriously reached and devoutly entertain ; that, in a
word, it should enlarge his materials and his sympathies as a man and a
thinker.” — Prospective Review .
“ A series of serious and manly publications.” — Economist,
The Catholic Series .
Preparing for Publication,

The Characteristics of the Present Age.
By JOHANN GOTTLIEB FICHTE. Translated from the German , by William
Smith .
This day is Published ,
The Vocation of the Scholar.
By JOHANN GOTTLIEB FICHTE . Translated from the German, by William
Smith . Post 8vo. cloth, 28. ; paper cover , Is. 6d.
“ We are glad to see this excellent | Vocation of the Scholar,' the Guide
translation of one of the best of of the Human Race,' written in Fichte's
Fichte's works presented to the public most earnest, most commanding tem
in a very neat form .....No class needs per, will be welcomed in its English
an earnest and sincere spirit more than dress by public writers , and be benefi
the literary class ; and , therefore the cial to the cause of truth ." - Economist.
This day is Published, in two vols. post 8vo. cloth, 12s.; extra cloth,
gilt edges, 148.,
Characteristics of Men of Genius ;
A Series of Biographical, Historical, and Critical Essays, selected by per
mission, chiefly from the North American Review, with Preface, by JOHN
CHAPMAN .
CONTENTS.
GREGORY VII., LOYOLA, PASCAL.
DANTE, PETRARCH , SAELLEY, BYRON , GOETHE, WORDSWORTH ,
MILTON , SCOTT, THE GERMAN POETS.
MICHAEL ANGELO , CANOVA.
MACHIAVELLI, Louis IX., PETER THE GREAT.
Essays of very high order, which thereby run the risk of discolouring the
from their novelty, and their intrinsic facts of history, than to take a calm
value, we are sure will receive from the and dispassionate survey ofevents and
British public a reception commen opinions.” — Morning Chronicle .
surate with their merits....... They are " Essays well worthy of an European
Essays which would do honour to the Life.” --Christian Reformer.
literature of any country .” - Westmin “ The collection before us is able and
ster Review . readable, with a good deal of interest
“ Essays of great power and interest in its subjects. They exhibitforce,just
In freedom of opinion, and occa ness of remark, an acquantance with
sionally in catholicity of judgment, the their subject, beyond the mere book
writers are superior to our own periodi- reviewed ; much clear -headed pains
cal essayists ; but wethink there is less taking in the paper itself, where the
brilliancy and point in them ; though treatment requires pains, a larger and
on that very account there is, perhaps, more liberal spirit than is often found
greater impartiality and justice."- in Transatlantic literature,and some
Douglas Jerrold's Magazine. times a marked and forcible style."
“ Řich as we are in this delightful Spectator.
department of Literature, we gladly “ A work that will be right weloome
accept another contribution to critical to all lovers of literature, and which
biography. ...... The American writers ought to be ordered by every book
keepmore closely to their text than our club ." - Critic.
own reviewers, and are less solicitous to “ There is hardly one of these papers
construct a theory of their own , and that has not great merit." -Inquirer.
John Chapman , 121, Newgate-street. 17
THE CATHOLIC SERIES — continued .

The Worship of Genius;
Being an Examination of the Doctrine announced by D. F. Strauss, viz.
" That to our Age of Religious Disorganization nothing is left but a Worship
of Genius ; that is, a Reverence for those great Spirits who create Epochs in
the Progress of the Human Race, and in whom , taken collectively, the God .
1 like manifests itself to us mostfully," and thus having reference tothe views
unfolded in the work entitled , “ Heroes and Hero -worship, " by Thomas Carlyle.
AND
! The Distinctive Character or Essence of Christianity :
An Essayrelativeto Modern Speculations and the present State ofOpinion.
Translated, from the German of Prof. C. Ullmann , by LUCY SANFORD . I vol.
post 8vo . 38. 6d .
CONTENTS.
1. General view of the object of the 6. The peculiar significance and in.
work . fluence of Christ's individual
2. The different stages of development character .
through which Christianity itself 7. The views of Hegel and his school.
has passed . The same phases 8. Christ as the exemplification of the
union of the Divine and Human
been successively taken ofit. in one character.
3. Christianity as Doctrine. Under 9. Importance ofthis truth for the de
this head are comprised both finition of the distinctive Charac
Supernaturalism and Natu ter of Christianity .
ralism . 10. Christianity as the Perfect Religion .
4. Christianity as a Moral Law . The 11. Inferences from the preceding :
philosophy of Kant. Ration 12. Retrospect and epitome of the
alism . argument.
5. Christianity as the Religion of Re 13. Application of the preceding to the
demption. Schleiermacher's de idea of Faith .
finition . 14. Application to the Church .
** The above two works are comprised in one volume, post 8vo. 38. 6d . cloth .
“ There are many just and beautiful “ There is in it much important and
conceptions
and the modeexpressed andand
of utterance illustra , Christians,
developed original thought.
who areIntelligent British
inclined to take
tion is more clear and simple than that philosophical views of the Christian
adopted often by our German brethren faith, will find much to delight and in
in treating such topics."—Nonconformist. / struct them .” — BaptistMagazine.
The Mission of the German Catholics.
By Prof. G. G. GERVINUS, Author of the “ Geschichte der Poetischen
National- Literatur der Deutschen .” Post 8vo. Is. 4d.
* This work well deserves an intro Review says : - “ He exhibits the ex
duction to an English public. It con tensive and profound erudition, the
tains the reflections of a German philo historical faculty of bringing past and
sopher on the extraordinary religious remote states of society near, and pro
movement which is now agitating his jecting the present into the distance ;
countrymen ; his anticipations, and his and the philosophical insight into the
wishes
In anrespecting
articleitsupon
results.”
the — Author's
Inquirer. distinguishing features
communities , and of individuals,
epochs, which so
“ History of the Poetical Literature of favourably characterize the recent his
the Germans," the North American I toriography of the Germans. ”
The Destination of Man.
By JOHANN GOTTLIEB FICHTE. Translated from the German , by Mrs.
PERCY SINNETT. 38. 6d . cloth.
“ This is the most popular exposition Fichte truly says, intelligible to all
of Fichte's philosophy which exists.” — readers who are really able to under
Memoir of Fichte, by W. Smith , stand a book at all ; and as the history
“ The Destination of Man ' is, as of the mind in its various phases of
THE CATHOLIC SERIES - ( continued .)
doubt, knowledge, and faith, it is of | remarkable. Aware that the great

interest to all. Agree with Fichte, or public was fully competent to grapple
disagree with him , you cannot help with the most arduous problems of
being carried along by his earnestness ; philosophy, when lucidly
you cannot help being struck with his ever it might shrink fromstated,how
the jargon
subtlety and depth. Argument, in such of the schools, Fichte undertook to
a matter, we take to
different. A book of thisbestamp
wholly in-
is sure
present his opinions
form .
in a popular
Mrs. Percy Sinnett has
to teach you much , because it excites thoroughly mastered the meaning of
thought. If it rouses you to combat her author, presents it clearly before
his conclusions, it has done a good the reader,and that without perpetually
work ; for in that very effort you are murdering our language by the intro
stirred
which haveto a hitherto points
escapedofyour
consideration duction of barbarous neologisms.”
in. Atlas,
dolent acquisescence. Of the transla. “ It appears to us the boldest and
tron,we must, on the whole, speak very most emphatic attempt that has yet
highly. It is accurate in the best been made to explain to man his rest
sense." -- Foreign Quarterly . less and unconquerable desire to win
« • The Destination ofMan'is Fichte's the true and theeternal." - Sentinel.
most popular work , and is every way
The Mental History of an Inquiring Spirit.

A Biography of Charles Elwood . By 0. A. BROWNSON . Post 8vo. 43. cloth ;
3s. 6d . paper cover.
“ This work is an attempt to pre- ! We can cordially recommend the vo
sent Christianity so that it shall satisfy lume, after a very careful perusal, to the
the philosophic element of our nature. layman who desires to think for him.
In this consists its peculiar merit and self, and to the clergy, as eminently
its distinctive characteristic. Such a calculated to enlargetheir views and
book was certainly very much needed. increase their usefulness, by showing
We have no doubt thatit will add many them the difference between sectarian
a doubter to a cheerful faith, and con ism and Christianity.” -- Sentinel.
firm many a feeble mind in the faith it “ The purposes, in this stage of his
has already professed. Mr. Brownson progress, which Mr. Brownson has in
addresses the philosophic element, and view are, the vindication of the reality of
the men in whom this element is pre the religious principle in the nature of
dominant ; and , of course , he presents man ; the existence of an order of senti.
the arguments that would be the most ments higher than the calculations of
striking and satisfactory to this class of the understanding and the deductions
men . In so far as he has succeeded, he of logic ; the foundation of morals on
must be considered to have done a meri theabsolute idea of rightin opposition
torious work . We think Mr. Brownson to the popular doctrine of expediency ;
eminently qualified for this task, and the exposition of a spiritual philosophy
that his success is complete. work and the connexion of Christianity with
will, doubtless , be themeansofgiving theprogress of society ;
composure and serenity to the faith of The
work presents the most profound
many who are as yet weak in the faith , ideas in a simple and attractive form .
or halting
Christian between
Eraminer . two opinions.” The discussion of these principles,
which in their primitive abstraction are
“ In a series of chapters, Mr. Morton so repulsive to most minds, is carried
explains the nature of the Christian on , through themedium of a slight fic
faith
raised, byand repliesas the
to the objections tion, become
with considerable
Elwood discussion pro We interesteddramatic
in the effect
final.
ceeds, and the argument we take to be opinions of the subjects of the tale, as
conclusive, though of course every one we do in the catastrophe of a romance.
may differ as to details. The mighty ! A slender thread of narrative is made
theme is handled in a most masterly to sustain the most weighty arguments
style , and the reasoning may fairly be on the philosophy of religion , but the
called “ mathematical.' There is nei- , conduct both of the story and of the
ther rant nor cant,hypothesis or dog- discussion is managed with so much
matism . Christianity is proved to be skill, that they serve to relieve and for
a " rational religious system ,” and the ward each other ." - Dial.
priest is exhibited in his true character . I
John Chapman, 121 , Newgate- street. 19
THE CATHOLIC SERIES- (continued .)
On the Nature of the Scholar , and its Manifestations.

By JOHANN GOTTLIEB FICHTE. Translated from the German ; with a
Memoir of the Author, by WILLIAM SMITH. Post 8vo. 6s. cloth .
“ This work consists of two parts ;- | perfect novelty . These orations
a Life of Fichte full of nobleness and are admirably fitted for their purpose ;
instruction , of grand purpose, tender so grand is the position taken by the
feeling,and brave effort;and a series lecturer, and so irresistible their elo
of ten lectures on the Vocation and quence. To his excellent translation
Functions of the Scholar. Mr. Smith has prefixed a biography of
“ The memoir, thecompilation of Fichte ,abridged, though still copious,
whichis executed with great judgment from the one written by Fichte, junior.”
and fidelity , is the best preparation or -Examiner .
prelection for a full and profitable com “ A pure and exalted morality and
prehension of the somewhat vague deep religious feeling breathes through
loftiness of these eloquent addresses.” out the whole. The memoir
-Prospective Review . prefixed to this volume, of which it fills
· The material trials that Fichte en about half, contains a concise and in
countered in the body are lost sight of teresting account of Fichte's life and
in the spiritual contest which hemain philosophical system .” — Irish Monthly
tained with his own mind . The page | Magazine.
that keeps the record of incidents is “ We state Fichte's character as it is
dignified throughout by the strong known and admitted by men of all
moral light that falls everywhere upon parties among the Germans, when we
it, like a glory , and sweetened by a say that so robust an intellect, a soul so
living episode that flows through its calm , so lofty, massive, and immove.
dark and bright
music places like a stream of able, has not mingled in philosophical
. " - Athenæum . discussion since the time of Luther.
“With great satisfaction we welcome Fichte's opinions may be true
this first English translation of an .or false ; but his character as a thinker
author who occupies the most exalted can be slightly valued only by such as
position as a profound and original know it ill; and as a man , approved by
thinker; as an irresistible orator in the action and suffering, in his life and in
cause of what he believed to be truth ; his death , he rankswith a class of men
as a thoroughly honest and heroic man . who were common only in better ages
The appearance of any of his than ours . " - State of German Litera
works in our language is, we believe, a ture, by Thomas Carlyle .
The Philosophical and Asthetic Letters and Essays of Schiller.
Translated , with an Introduction , by J. WEISS. Post 8vo. 78. 6d. cloth .
“ These Letters stand unequalled in shortest way home; and if there be a
the departmentofÆsthetics, andare so desire to have truth, the only way is to
esteemed even in Germany, which is so work at the windlass one's self, and
fruitful upon that topic . Schiller is bring up the buckets by the labour of
Germany's best Æsthetician, and these one's own good arm . Whoever works
letters contain
Schiller. the highestmoments
Whether we desire rigorousof at
reward present
the for the labour may ample
they find
well, will bestow
logical investigation or noble poetic ex on it ; the truths he will draw up are
pression ,whether we wish to stimulate universal, and from that pure elemen
the intellect or inflame the heart, we tary fountain ‘ that maketh wise he that
need seek no further than these. They drinketh thereat.'” — Douglas Jerrold's
are trophies won from an unpopular, Magazine.
metaphysical form , by a lofty, inspiring, “ It is difficult, if not impossible, to
and absorbing subject.” - Introduction . give a brief, and at the sametime faith
“ It is not possible, in a brief notice ful, summary of the ideas affirmed by
like the present, to do more than inti Schiller in this volume. Its aim is to
mate the kind of excellence of a book develop the ideal of humanity, and to
of this nature. It is a profound and define the successive steps which must
beautiful dissertation, and must be dili be trodden to attain it. Its spirit
gently studied to be comprehended . aspires after human improvme and
After all theinnumerable efforts that the seeks to indicate the means of realiza
present age has beensometime making tion . Schiller insists upon the nece ssi.
to cut a Royal road to everything , it is ty of æsthetic culture as preliminary to
beginning to find that what sometimes moral culture, and in order to make
seems the longest way round is the the latter possible . According to the
THE CATHOLIC SERIES—(continued. )
doctrine here set forth, until man is gain from it all that it is capable of
æsthetically developed , he cannot be yielding, there must be some aptitude
morally free, hence not responsible, as for such studies, and some training in
there is no sphere for the operation of them too. .... To be appreciated it
the will. must be studied, and the study will be
“ The stylein which the whole volume well repaid .” — Christian Examiner.
is written is particularly beautiful, there “ Here we must close, unwillingly ,
is a consciousness of music inevery page this volume, so abounding in food for
we read ; it it remarkable for the con- thought, so fruitful of fine passages,
densation of thought and firm consist heartily commending it to all of our
ency which prevails throughout ; and . readers who desire to make acquaint
so far as we are able to judge, the ance with the philosophy of art. The
translation is admirably and faithfully extracts we have taken will prove what
rendered . The twenty -seven letters a treasure is here, for they are but a
upon the ‘ Æsthetic Culture of Man ,' fraction of the gems that are to be
form the most prominent, and by far i gathered in every page. We make no
the most valuable,portionof the work ; apology for having so long lingered over
they will be found full of interest and this book ; for, albeit, “philosophy is
the choicest riches, which will abund . somewhat out of fashion in our age of
antly repay any amount of labour materialism , it yet will find its votaries,
bestowedupon them."-Inquirer . fit though few ; and even they who care
“ This is a book which demands and not for thehigher regions of reflection ,
deserves study .. Either to translate or cannot fail to reap infinite pleasure
to appreciate it requires a somewhat from the eloquent and truthful passages
peculiar turn of mind. Not that any we have sought to cull for theirmingled
body could read itwithout profit, but to delight and edification .” — Critic.
The Philosophy of Art.
An Oration onthe Relation of the Plastic Arts to Nature. Translated from
the German of F. W. J. VON SCHELLING, by A. JOHNSON . Post 8vo. Is.
paper cover ; Is. 6d . cloth .
« This excellent oration is an appli- | clashed and jarred together ; in the
cation to art of Schelling's general work of art the heterogenous is ex
philosophic principles. Schelling takes cluded, and an unity is attained not to
the bold course, and declares that what be found elsewhere. Schelling, in his
is ordinarily called nature is not the oration, chiefly, not exclusively , regards
summit of perfection , but is only the the arts of painting and sculpture; but
inadequate manifestation of a high his remarks will equally apply to
idea , which it is the office of man to others, such as poetry and music . This
penetrate. The true astronomer is not oration of Schelling's deserves an exten
he who notes down laws and causes sive perusal. The translation , with the
which were never revealed to sensuous exception of a few triflinginaccurrcies,
organs, andwhich are often opposed to is admirably done by Mr. Johnson ;
the prima facie influences of sensuous and we know of no work in ourlanguage
observers. The true artist isnot he who better suited to give a notion of the turn
merely imitates an isolated object in which German philosophy took after it
nature, but he who can penetrate into abandoned the subjectivity of Kant and
the unseen essence that lurks behind Fichte. The notion will, of course, be
the visible crust, and afterwards re . a faintone; butit is something to know
produce it in a visible form . In the thelatitude and longitude of a mental
surrounding world means and ends are position ." -- Examiner.
The Life of Jean Paul Fr. Richter.
Compiledfrom various sources. Together with his Autobiography. Transla
ted from the German . 2 vols. paper cover, 75. ; cloth, 88.
“ The autobiography of Richter,which | imagination yague, sombre, splendid,
extends only to histwelfth year, is one or appalling, brooding over the abysses
of the most interesting studies of a true of being, wandering through infinitude,
poet's childhood ever given to the and summoning before us, in its dim
world .” - Lowe's Edinburgh Magazine. religious light, shapes of brilliancy ,
“ Richter has an intellect vehement, solemnity, or terror ; a fancy, of exu
rugged, irresistible, crushing in pieces berance literally unexampled, for it
the hardestproblems; piercing into the pours its treasures with a lavishness
most hidden combinations of things, which knows no limit, hanging, like
and grasping the most distant ; an the sun, a jewel on every grass-blade,
John Chapman , 121 , Nergate - street. 21
THE CATHOLIC SERIES— ( continued .)

and sowing the earth at large with refined and exalted natures, and of
orient pearls. But deeper than all princely rank . It is full of passages so
these lies humour, the ruling quality attractive and valuable that it is diffi
of RICHTER — as it were the central fire cult to make a selection as examples of
that pervades and vivifies his whole its character.” -Inquirer.
being. He is a humorist from his in “ This book will be found very valu
most soul ; he thinks as a humorist ; he able as an introduction to the study of
imagines, acts, feels as a humorist : one of the most eccentric and difficult
sport is the element in which his writers of Germany. Jean Paul's writ .
nature
CARLYLElives and works. ”— THOMAS ings are somuch the reflex of JeanPaul
. himself, that every light that shines
“ With such a writer it is no common upon the one inevitably illumines the
treat to be intimately acquainted. In other. The work is a useful exhibition
the proximity of great and virtuous of a greatand amiableman ,who,pos
minds we imbibe a portion of their na sessed ofthe kindliest feelings, and the
ture — feel, as mesmerists say , a health most brilliant fantasy, turned to a high
ful contagion, are braced with the same purpose that humour of which Rabelais
spirit of faith, hope, and patient en isthe great grandfather, and Sterne one
durance - are furnished with data for of theline of ancestors, andcontrasted
clearing up and working out the intri it with an exaltation of feeling and a
cateproblemof life, and are inspired , rhapsodical poetrywhich are entirely
like them , with the prospectof immor his own. Let us hope thatit will com
tality. Noreader of sensibility can rise plete the work begun by Mr. Carlyle's
from theperusalofthese volumeswith- Essays,and causeJean Paul to be really
out becoming both wiser and better.” — read in this country." - Examiner.
Atlas. “ Richter is exhibited in a most ami
“ Wethat
much find does
in the
notpresent
so muchbiography
amuse able frugal,
ous, light inbenevolent,
this biography
witha-child
industri.
- like
and instruct, as, to adopt a phrase from simplicity of character, and a heart
the religious world, positively edify the overflowing with the purest love. His,
reader . The life of Richter is indeed letters to his wife are beautiful memo
a moral and a religious, as much as a rials of true affection , and the way in
literary treat, to allwho have a sense which he perpetually speaks of his chil
exercised to discern religionand mora dren shows that he was the most at
lity as a thing essentially different from tached and indulgent of fathers. Who
mere orthodoxy and asceticism . The ever came within the sphere of his com .
two volumes before us cannot be se- panionship appears to have contracted
riously read without stimulating the an affection for him that death only
reader, like agood sermon , to self-ame dissolved : and while his name was re
lioration , and in this respect they are sounding through Germany, he re
invaluable. mained as meek and humble as if he
“ Richter isathorough Christian, and had still been an unknown adventurer
a Christian with alarge glowing human on Parnassus." — The Apprentice .
heart. Theappearance of his biography “ The life of Jean Paul is a charming
in an
but English form
be regarded as a cannot, therefore,
great boon to the piece of
rivets thebiography
attention . which draws and
The affections of
best interests of the country." -- Tait's the reader are fixed on the hero with an
Magazine.
66 Apart from the interest of the work intensity rarely bestowed on an his
as the life of Jean Paul, the reader, torical character. It is impossible to
read this biography without convic
learns something of German life and tion of its integrity and truth ;and
German thought, and is introduced to though Ritcher's style is more difficult
Weimar during its most distinguished of translation than that of any other
period — when Goethe, Schiller, Herder, German , yet we feel that his golden
and Wieland, the great fixed stars of thoughts have reached us pure from the
Germany, in conjunction with Jean mine, to which he has given that impress
Paul, were there, surrounded by beau of genius which makes themcurrent in
tiful and admiring women , of the most allcountries.” — Christian Reformer.
Essays. By R. W. Emerson.
( Second Series.) With a Notice by THOMAS CARLYLE . 38. paper cover ;
3s. 6d. cloth .
“ Among the distinguishing features and its strong advocacy of human wants
ofChristianity - we are readyto say THE and rights. In this particular, few
distinguishing feature - is its humanity, have a better title to be ranked among
its deep sympathy with human kind, the followers of Jesus than the author
THE CATHOLIC SERIES - ( continued .)
of this book !" — American Christian Er . , ties, and desire only new facts and new
aminer. images, and those who have not a feel.
“ The difficulty we find in giving a ing or an interest in the great question
proper notice of this volume, arises ofmind and matter, eternity and nature,
from the pervadingness ofits excellence , willdisregard him as unintelligible and
and the compression of its matter. uninteresting, as they do Bacon and
With more learning than Hazlitt, more Plato, and , indeed, philosophy itself.” —
perspicuity than Carlyle, more vigour Douglas Jerrold's Magazine.
and depth ofthought than Addison,and “ Beyond social science, because be
with as much originality and fascination yond and outside social existence, there
as any of them , this volume is a bril- lies the science of self, the development
liant addition to the Table Talk of in of man in his individual existence,
tellectual men , be they who or where within himself and for himself. Of this
they may.” — Prospective Reriew . latter science, which may perhaps be
“ Mr. Emerson is not a common man, called the philosophy of individuality,
and everything he writes contains sug Mr. Emerson is an able apostle and
gestive matter of much thought and interpreter." - League .
earnestness.” — E.raminer. “ As regards the particular volumeof
“ That Emerson is, in a high degree, EMERSON before us, we think it an im
possessed of the faculty and vision of provement upon the first series of essays.
the seer , none can doubt who will ear The subjects are better chosen . They
nestly and with a kind and reverential come more home to the experience of
spirit peruse these nine Essays. He the mass of makind, and are conse
deals only with the true and the eternal. I quently more interesting. Their treat
His piercing gaze at once shoots swiftly, ment also indicates an artistic improve
surely through the outward and the su ment in the composition .” - Spectator.
perficial, to the inwost causes and work. “ All lovers of literature will read
ings. Any one can tell the time who Mr. Emerson's new volume, as the
looks on the face of the clock, but he most of them have read his former one ;
loves to lay bare the machinery and and if correct taste, and soberviews of
show its moving principle. His words life, and such ideas on the higher sub
and his thoughts are a fresh spring, jects of thought as we have been ac
that invigorates the soulthat is steeped customed to account as truths, are
therein. His mind is ever dealing with sometimes outraged, we at least meet
the eternal; and those who only live to at every step with originality, imagi
exercise their lower intellectual facul- nation, and eloquence.” — Inquirer.
The Emancipation of the Negrocs in the British West Indies.

An Address delivered at Concord , Massachusetts, on the 1st of August, 1844 .
By R. W. EMERSON. Post 8vo. 6d. paper cover.
“ It is really purifying to be able to rica of a potential voice, who can utter
turn, at thismoment, to anything these words of reproof to his country ,of
righteous and generous from an Ameri- justice to Great Britain .” — Pros. Rev.
can on Slavery and Great Britain , so as “ We need not tell any one who has
to be relieved from the scorn and loath- the slightest acquaintance with his pre
ing produced by Mr. Calhoun's Letter vious writings that Mr. Emerson is elo
Since Americanis no
to theChanning is aParis.
more , it at
Minister quent;
satis into
and here
which
he has
he has thrown hissubject,
a noble whole
faction that there is one man in Ame. l soul."-Inquirer.
The Roman Church and Modern Society.

By E. QUINET, of the College of France. Translated from the French Third
Edition (with the Author's approbation ), by C. Cocks, B.L. 8vo. 58. cloth.
“ We take up this enlightenedvolume, man Church and History ; The Roman
which aims, in the spirit of history and Church and Law ; The Roman Church
philosophy, to analyze the Romanist and Philosophy ; The Roman Church
principle, with peculiar pleasure. A and Nations; The Roman Church and
glance at the headings of the cha pters the Universal Church ." - Christian Re
much interested ourselves, and we doubt former.
not will our readers : — The Superlatively “ The fourth lecture, entitled “ The
Catholic Kingdom of Spain ; Political Roman Church and Science,' appears to
Results of Catholicism in Spain ; The us the most striking and luminous ex
Roman Church and the State ; The position we have seen of the condition
Roman Church and Science ; The Ro ofthe Roman church , and ofits unavail
John Chapman, 121, Newgate-street. 23
THE CATHOLIC SERIES— ( continued .)

ing hostility to theprogress of mankind . God's will, and the interpreter of those
Our space precludes the possibility of divine lawswhose incarnationin human
quoting the whole, or we should do so lifeis the pledge of man's spiritual ad .
with great pleasure. It delineates, in vancement andhappiness, that it heeds
vivid colours, the history of Galileo, his not the signs of the times, refuses any
character, his discoveries, his philo- alliance with the spirit of progression,
sophical protest against the theology of clings tenaciously to the errors and
Rome, the horrible persecutions which dead formulas of the past, recognizes
he suffered , and his effects upon the the accession of no new truths, and
ecclesiastical power - changing the rela hence prostrates the intellect, proscribes
tive positions of science and the church, the enlargement of our spiritual boun
unfolding a theology more profound daries, lays an inderdict on human pro
than that of Rome, a code of laws more gress, compels us to look perpetually
infallible than that of the church , a backwards, and blights our hopes of the
grand and comprehensive system of tuture, and - in the words of Quinet
ideas transcending in its Catholicity represents the earth as a condemned
Catholicism itself. world formed for chastisement and evil.'
“ The four remaining lectures are “ Considered as a whole, the book be
severally entitled - The Roman Church fore us is the most powerful and philo
and Law (in which the Inquisition is a sophically consistent protest against
conspicuous subject)— The Roman the Roman Church which has ever
Church and Philosophy - The Roman claimed our attention , and, as a strong
Church and Nations- The Roman confirmation of its stirring efficiency,
Church and the Universal Church . We we may mention that the excitement it
cannot characterize each of these in has created in Paris has subjected the
particular : suffice it to say that there is author to a reprimand fromboth Cham
àprofound and expansivephilosophical bers of the Legislature, and excommu
spirit breathing through the whole ; nication by the Pope ." -- Inquirer.
everysubject is compelled to contribute “ M. Quinet belongsto the movement
its entire force of facts and illustration party, and haslatelybeen conspicuous
for the construction of the one great in resisting the pretensions of theJesuit
argument which is the object and com and French clergy to the exclusive edu
plement of each-viz., that the Roman cation of the youth of France. He has
Church is no longer adequate to the grappled with his theme both practi
enlarged needs andaspirations of man cally, and in the philosophical spirit of
kind, thatit has fulfilled the mission for history.. .... Rare meritsarecomprised
which it was originated — that the ener in this volume :::: .. a genuine spirit
gies it once put forth in the cause of pervades it, and there are many pasa
humanity are paralyzed t, hatits decre ges of great depth, originality and elo
pitude is manifest, and its vitality quence ." --- Atlas.
threatened , that it has shown itself in “ .... These eloquent and valuable
capable of continuing asthe minister of 1 lectures.” — NewChurch Advocate .
The Rationale of Religious Inquiry ;
Or, the Question staved , of Reason , the Bible , and the Church . By JAMES
MARTINEAU. Third Edition , With a Critical Letter on Rationalism , Mira
cles,
WHITE and the Authority of Scripture, by the late Rev. JOSEPH BLANCO
. 4s. paper cover ; 4s. 6d. cloth .
Sermons of Consolation .
By F. W. P. GREENWOOD, D.D. 58. cloth .
This is a really delightful volume, will meet with a grateful reception from
which we would gladly see producing all who seek instruction on the topics
its purifying andelevating influences in most interesting to a thoughtful mind.
all our families.” — Inguirer. There are- twenty -seven sermons
“ Thisbeautiful volume we are sure volume." Christian Examiner . in the
Self-Culture.
By WILLIAM ELLERY CHANNING . 6d. paper cover ; 1s. cloth .
Christianity, or Europe.
Translated from the German of NOVALIS (Friedrich von Hardenberg ), by
the Rev. J. DALTON . 6d . paper cover.
‫ وک‬, ‫امیر‬
o
‫یکی‬5 11
5
4 Works published by John Chapman .
The Catholic Series .

(Uniform , in Post Octavo .)
For Prospectus, explaining the Principles and Object of the Series,
and for the Opinions of the Press, see pages 15 and 16 of the
Catalogue.
The whole of the Works which have been published in the Series appear
in the following list; but for the prices of the different books, and criticisms
upon them , see thepreceding pages from 17 to 23.
4. The Philosophical and Æsthetic Letters
and Essays of Schiller .
2. The Philosophy of Art. By F. W. J. Von Schelling.
3. The Destination of Man . By Johann G. Fichte.
4. The Nature of the Scholar and its Mani
festations. By Johann Gottlieb Fichte.
5. Essays . By.R.W. Emerson . .
6. The Emancipation of the Negroes. By
R. W. Emerson .
7. The Life of Jean Paul Fr. Richter . 2 vols.
8. The Roman Church and Modern So
ciety . By E. Quinet.
9. The Rationale of Religious Inquiry . By
James Martineau ,
10. The Mental History of an Inquiring
Spirit. A Biography of Charles El
wood . By O. W. Brownson .
11. Sermons of Consolation . By F. W. P. Green
wood, D.D.
12. Self - Culture . By William Ellery Channing .
13. Christianity , or Europe . By Novalis.
14. The Mission of the German Catholics .
By Prof. G. G. Gervinus.
15. The Worship of Genius , and The Distinc
tive Character or Essence of Chris .
tianity . By Prof. C. Ullmann.
16. Characteristics of Men of Genius .
17. The Vocation of the Scholar. By J. G. Fichte.
18. The Characteristics of the Present Age .
By Johann Gottlieb Fichte.
H. Morton , Printer, 2, Crane-court, Fleet-street.

The Philosophy of Art

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This is a reproduction of a library book that was digitized

by Google as part of an ongoing effort to preserve the

GAYLORD PRINTED IN U.S.A. * H A.:..

3 1924 086 360 918

In compliance with current

AN ORATION ON THE RELATION BETWEEN THE

PLASTIC ARTS AND NATURE .

Translated from the German ,

JOHN CHAPMAN, 121 , NEWGATE STREET.

In a time like the present, when art has become, so much

modern philosophers, could not but be welcome; and the

In England there has been but little endeavour, since

then treated of taste, though rather to be attributed to the

hope for a more favourable result ; and although a perma

the subject is generally contemplated, still the study of that

led , may not be without use ; and the accompanying Essay is

as a substitute for individual effort, in cultivating that field

ditions of its life are so inextricably interwoven with forms

To this cause is to be attributed , more than to any other ,

Our English philosophy must proceed in an organic deve

The characteristic difference between this Essay and all

ceeds in its investigation from the idea of art itself; whereas

From the prevalence of the latter method among us is

to be explained the vagueness of determination when the

ral want of reference to principles, under which our artistic

The great light which is shed upon these points in the

before the Royal Academy of Sciences, at Munich , on the

It may be asked, of what service can such abstract theo

without them , and may not we do as well without them as

It is very true that the works of genius do not wait for

an intelligible theory of their production ; indeed, that pro

works within its sphere.

A true and scientific system of deductive logic is not

as a corrective to individual errors, and offers a far better

art stands in precisely the same relation to its works.

more cogent reasons for their judgments than a mere assur

Fully aware of the many shortcomings in the execution

There is a peculiar difficulty in translating any philoso

when translated into another language, in which those

almost impossibility, of avoiding them will in some degree

moderate that censure to which they would otherwise be

best appreciate the importance of the Work will be most

Note . — The English reader, who may wish to become more

PLASTIC ARTS AND NATURE.

FESTIVE days like the present, adorned with the name of a

penetrating judges, to give the subject new charms, did he not

this relation can a theory ground itself, that can be satisfy .

image was to be transferred to canvass or marble. This was,

THE PLASTIC ARTS AND NATURE . 5

in the works of antiquity, he taught that the production of the

breath ? If this is not in the power of art, as it is in that of

soft -breathing wind, which cleared from clouds the heaven of

to the particles of matter in the human frame such arrange

infinite understanding, as that essence, which comprehends the

of nature, which, working in the core of things, speaks by

How is it, that to every cultivated perception the so - called

12 ON THE RELATION BETWEEN

Determinate form is in nature never negative, but always

form , she sinks, overpowered by the might of form , into petri

weakness, and inward nonentity, before he can venture, by a

perfection , elevated itself to the characterless. But it did not

the fancy , by the conception of an all -ruling power in nature,

nature as well as art for a kingdom , compares the characteristic,