1869.
THE SCHOOL OF GIORGIONE
It is the mistake of much popular criticism to regard poetry, music, and
Painting--all the various products of art--as but translations into
different languages of one and the same fixed quantity of imaginative
thought, supplemented by certain technical qualities of colour, in
painting--of sound, in music--of rhythmical words, in poetry. In this
way, the sensuous element in art, and with it almost everything in art
that is essentially artistic, is made a matter of indifference; and a
clear apprehension of the opposite principle--that the sensuous material
of each art brings with it a special phase or quality of beauty,
untranslatable into the forms of any other, an order of impressions
distinct in kind--is the beginning of all true aesthetic criticism. For,
as art addresses not pure sense, still less the pure intellect, but the
"imaginative reason" through the senses, there are differences of kind
in aesthetic beauty, corresponding to the differences in kind of the
gifts of sense themselves.
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