Chapter 5 DEGREES OF BEAUTY IN THE PAINTER'S ART

The degrees of beauty which the art of the painter can exhibit appear to be, in order of their value, as follows:

1. That which appeals to the senses with form, and to the mind with expression, above the possibility of life experience. This double beauty can only be found in ideals, and the real cannot be associated with it except as accessory. The highest art of the painter is therefore confined to sacred, mythological, and symbolical subjects.

2. That which appeals to the senses through representation of the human form, without, or with only partial idealization, and to the mind through the indication in expression of high abstract qualities. This section comprises subjects of profane history, and high class portraiture. It varies from the succeeding section in that the artist may represent the human being as he ought to be, or would be with the higher physical and abstract qualities emphasized, or in certain cases, with these qualities added.

3. That which appeals to the senses through the harmony of tone and design, and to the mind through the representation of human action within the compass of life experience. This section comprises interiors and exteriors relating to daily life and labour, and portraiture which is merely accurate imitation of features. It differs from the previous section in that it represents the human being as he is, and not as he ought to be.

4. That which appeals to the senses through harmony of colour and design, in respect of the imitation and the things imitated, in addition to pleasing because it excites admiration of the skill in imitation. This section comprises landscape, flowers, fine plumaged birds, and certain symmetrical animal forms.

5. That which appeals to the senses through harmony of tone and design, and indirectly to the mind through association of ideas connected with the other arts; in addition to pleasing because of the excellent imitation, and possibly because of the beauty of the things imitated. This section comprises paintings of things connected with the other arts, and which are neither beautiful nor displeasing, such as books and musical instruments; or which are imitations of products of another art, as plate, marble reliefs, or architectural forms.

6. That which appeals to the senses through harmony of tone and design, in addition to pleasing because of the excellent imitation. This class of beauty comprises paintings of objects which in themselves are not beautiful, as vegetables, kitchen utensils, and certain animals; or which are even repellent, as dead animals.

7. That which appeals to the senses through harmony of colour, the design having no beauty in itself. This form of art, which is the lowest in the scale of the painter, is only adapted for the simplest formal decoration.

The first three sections may produce both sensorial and intellectual beauty; the others only sensorial. Limited abstract qualities are associated with certain animals in nature, but cannot be indicated in the uncombined art of the painter.

Beyond these sections, there are classes of pictures which do not belong to the pure art of the painter, namely, those executed for use and not for beauty35; those painted to illustrate sports, or to record passing events; certain allegorical paintings; and those works which, while they cannot represent the ideal, require the assistance of another art for their interpretation; as for instance, incidents to illustrate particular morals or stories; scenes from the drama other than tragedy; portraits of persons in character; humorous subjects, and so on. Such works, on account of the restrictions imposed on the artist, can exhibit but limited and fleeting beauty. Elsewhere they are noticed under the heading of "Secondary Art."