quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
that is to say	101
on the other hand	87
in so far as	69
a work of art	68
at the same time	64
the work of art	56
in the case of	36
so far as it	34
for the sake of	29
work of art is	25
the point of view	24
sidenote critique of the	23
the theory of the	23
so far as they	22
as well as the	21
in the same way	21
point of view of	20
it is impossible to	20
of the work of	19
the beauty of the	19
the end of the	19
it is necessary to	18
the expression of the	18
far as it is	18
of the theory of	18
to be found in	17
the unity of the	17
of works of art	16
of the aesthetic fact	16
in the sense of	16
in the first place	15
critique of the theory	15
on the one hand	15
artistic and literary history	15
and at the same	15
in respect to the	14
at the end of	14
of the human body	14
in the course of	14
the aesthetic of the	14
of a work of	14
the purpose of art	14
the form of the	14
the nature of the	13
there can be no	13
is one of the	13
of artistic and literary	13
for the first time	13
be found in the	13
of space and time	12
the same way as	12
the spirit of art	12
of which it is	12
may be said to	12
in painting and sculpture	12
as we have seen	12
in order to be	12
of the aesthetic experience	12
of the beauty of	12
it is clear that	12
one of the most	12
sensibility to the beautiful	11
that there is no	11
the philosophy of the	11
the use of the	11
by means of the	11
the true nature of	11
of the natural sciences	11
it is to be	11
the meaning of the	11
nothing to do with	11
the light of the	11
for the most part	11
the existence of a	11
from the point of	11
of view of the	10
the idea of the	10
as we shall see	10
in the works of	10
as we have already	10
for the same reason	10
far as they are	10
it may be said	10
in the history of	10
for its own sake	10
in the work of	10
with regard to the	10
the form of a	9
be looked upon as	9
by means of which	9
in the aesthetic experience	9
of the nature of	9
the shape of the	9
when we come to	9
every work of art	9
a large part of	9
as much as possible	9
be said to be	9
is to be found	9
of the inner life	9
with reference to the	9
in the hands of	9
to the nature of	9
works of art are	9
the line of beauty	9
the science of the	9
in the one case	9
what has been said	9
so far as he	9
the fact that the	9
to the fact that	9
to the beauty of	9
it is possible to	9
the beautiful and the	9
aesthetic of the sympathetic	9
the problem of the	9
a part of the	9
does not belong to	9
the life of the	9
state of the soul	9
the works of art	9
the perception of the	9
as if it were	9
as the science of	9
if it be not	8
is the basis of	8
of the aesthetic activity	8
use of the word	8
the thought of the	8
but this does not	8
man on the hill	8
the useful and the	8
of the eighteenth century	8
the man of science	8
in such a way	8
as is the case	8
the colors and lines	8
to that of the	8
science of the spirit	8
the unity of a	8
artistic and literary classes	8
the works of the	8
the reproduction of the	8
philosophy of the spirit	8
of color and line	8
we do not know	8
the elements of the	8
as well as in	8
in comparison with the	8
is the case with	8
as well as of	8
a piece of music	8
the doctrine of the	8
with a view to	8
in the eighteenth century	8
the representation of the	8
of the parts of	8
for the expression of	8
the question of the	8
to do with the	8
the place of the	8
in accordance with the	8
the character of the	8
to the work of	8
the difference between the	8
the work of the	8
what we want of	8
parts of the body	8
the quality of the	8
the image of the	7
in proportion to the	7
it is evident that	7
the study of the	7
precisely because it is	7
the theory of aesthetic	7
as to the nature	7
as the result of	7
are to be found	7
half of the nineteenth	7
the aesthetic fact is	7
that it is not	7
in the world of	7
part of the body	7
that we do not	7
as that of the	7
the sake of the	7
is the art of	7
to which we have	7
as in the case	7
were it not for	7
in the direction of	7
the value of the	7
of art is a	7
of art can be	7
the case of the	7
in a work of	7
such as those of	7
the imitation of nature	7
is the same as	7
that there may be	7
with that of the	7
the same kind of	7
with the help of	7
in the place of	7
the nature of art	7
of the theoretic spirit	7
the qualities of the	7
storage and transfer of	7
the two forms of	7
the concept of the	7
as one of the	7
the art of painting	7
the value of art	7
in the form of	7
of light and shade	7
the distinction between the	7
the rest of the	7
as we have observed	7
in the life of	7
from time to time	7
the independence of art	7
one of the best	7
it is true that	7
of the beautiful and	7
the feeling tone of	6
one and the same	6
in order to make	6
the origin of art	6
the one and the	6
the history of aesthetic	6
of the different arts	6
in addition to the	6
i do not mean	6
by the help of	6
the first of these	6
in the power of	6
the experience of art	6
the problem of evil	6
the theory of artistic	6
would not have been	6
the artist and the	6
the search for the	6
of the body is	6
the feeling of the	6
to the eye by	6
been looked upon as	6
in a paper on	6
the pleasure in the	6
the help of the	6
works of art that	6
to belong to the	6
the top of the	6
it will not be	6
the power of the	6
of the unity of	6
of the problem of	6
is said to have	6
of the idea of	6
the same as the	6
what has already been	6
a state of the	6
theory of artistic and	6
the same as that	6
problem of evil in	6
in what we call	6
the eye of the	6
the impression of the	6
neither beautiful nor ugly	6
at the beginning of	6
the sense of the	6
so as to make	6
to be able to	6
the limits of the	6
the storage and transfer	6
the mind of the	6
expressiveness of the medium	6
in the industrial arts	6
one or the other	6
and this is the	6
face to face with	6
second half of the	6
is that of the	6
in which they are	6
seems to have been	6
the purpose of the	6
the theory of art	6
the end of art	6
not belong to the	6
an image of the	6
that there is a	6
of nature and of	6
the function of art	6
philosophy of the practical	6
which is the aesthetic	6
is not a mere	6
an expression of the	6
feeling tone of the	6
has nothing to do	6
the repetition of the	6
of the origin of	6
as a matter of	6
on the other side	6
the hands of the	6
a matter of fact	6
and in so far	6
the pleasure of the	6
be said of the	6
it would be a	6
and if it be	6
of the nineteenth century	6
forms of the beautiful	6
the analysis of the	6
the man on the	6
it is difficult to	6
work of art and	6
the art of the	6
what we have already	6
in the service of	6
the spirit of the	6
the same sort of	6
in the mind of	6
the utmost beauty of	5
the lines of the	5
the inner life of	5
may be called the	5
of a piece of	5
by the beauty of	5
but he does not	5
of the body and	5
the method of artistic	5
it is well known	5
of the limits of	5
of the philosophy of	5
for the purpose of	5
of the end of	5
is a kind of	5
the beauty of nature	5
same as that of	5
perceptive and empathic activities	5
the greater part of	5
that it would be	5
is that which is	5
the method of the	5
it will be found	5
the heart of the	5
of the elements of	5
in the theory of	5
of the seventeenth century	5
from what has been	5
to the world of	5
when they are not	5
it is not the	5
looked upon it as	5
with which we are	5
in the presence of	5
the criterion of progress	5
light and shade and	5
which we have referred	5
one and the other	5
of the man of	5
as has already been	5
is a question of	5
the power of a	5
on the part of	5
is the essence of	5
in the field of	5
it is not possible	5
as an expression of	5
do not mean that	5
all works of art	5
the color of the	5
of the same kind	5
of sensibility to the	5
the downward force is	5
the existence of the	5
of the imitation of	5
a representation of the	5
the most important of	5
never be able to	5
the surface of the	5
of form and content	5
so long as we	5
the beginning of the	5
through color and line	5
between the beautiful and	5
as well as that	5
the sphere of the	5
than any of the	5
as those of the	5
on the ground that	5
what we call the	5
the same time the	5
be said to have	5
meaning of the words	5
between the theoretic and	5
of evil in aesthetics	5
but it is not	5
it is not a	5
form of the spirit	5
of harmony and balance	5
take the place of	5
to the study of	5
the theoretic and the	5
by the name of	5
have nothing to do	5
the movement of the	5
only so far as	5
states of the soul	5
of feeling in the	5
expression in the naturalistic	5
the manner in which	5
there must be a	5
from the failure to	5
the parts of speech	5
in order that there	5
in the expression of	5
it is ideally superior	5
that they are not	5
between the useful and	5
with the exception of	5
of what is called	5
order that there may	5
looked upon as the	5
has come to be	5
would be able to	5
art and of the	5
a philosophy of history	5
a revelation of the	5
on its own account	5
idea of the self	5
in the middle age	5
the content of the	5
in the same manner	5
of some of the	5
the activities of the	5
of the word beautiful	5
of art and of	5
in proportion as it	5
in a general way	5
when we look at	5
it is a question	5
the other of the	5
may seem to be	5
the second half of	5
the application of the	5
theoretic and the practical	5
what may be called	5
the production of the	5
and it is this	5
color and line and	5
not to be found	5
it is not necessary	5
which we have already	5
in the next place	5
on account of their	5
in the aesthetic of	5
of art must be	5
we look at the	5
the beautiful as the	5
of the physically beautiful	4
from every point of	4
the aesthetic fact as	4
the expression of a	4
in looking at a	4
the truth is that	4
as well as a	4
side by side with	4
of the practical activity	4
the laws of the	4
there is so much	4
analysis of the aesthetic	4
the essence of the	4
of the beautiful itself	4
the importance of this	4
by the fact that	4
elementary forms of the	4
the world of the	4
we look at a	4
which it is a	4
the lines of a	4
of the relation of	4
of the mind come	4
between art and science	4
in the perception of	4
and there is no	4
of the poet is	4
the concept of a	4
every part of the	4
of the power of	4
the height of the	4
i know of no	4
that art is not	4
of art from the	4
to make clear the	4
as an element of	4
at a certain point	4
works of art and	4
in order that we	4
practical activity of externalization	4
in the middle of	4
the pleasure of art	4
forms of the spirit	4
as those of a	4
the elementary forms of	4
when they see the	4
the muscles of the	4
in the naturalistic sense	4
from the fact that	4
sense of the beautiful	4
and for the same	4
is the foundation of	4
the critique of pure	4
the extent to which	4
identity of art and	4
intrinsic value of art	4
so far as we	4
in the pursuit of	4
with a work of	4
the domain of the	4
in the midst of	4
when there is a	4
to the end of	4
such a way as	4
in the critique of	4
the sense of beauty	4
it will always be	4
is ideally superior to	4
of poetry and of	4
moral point of view	4
is the expression of	4
that a work of	4
of the artist is	4
the moral point of	4
the beautiful and of	4
far as he is	4
the various forms of	4
it is necessary that	4
that the purpose of	4
under the influence of	4
of art may be	4
are not to be	4
an infinite number of	4
of the perception of	4
of art is that	4
there is always some	4
that art is a	4
in terms of our	4
the writers of the	4
the relation between the	4
the idea of a	4
that which is called	4
of line in sculpture	4
the sound of the	4
can be made to	4
the body and limbs	4
method of artistic and	4
of the useful and	4
as it is the	4
beginning of this chapter	4
in the use of	4
of the purpose of	4
in the other arts	4
of the energies of	4
it is customary to	4
from the sphere of	4
the history of art	4
in the contemplation of	4
we have already observed	4
the state of the	4
of lines and colours	4
the practical activity of	4
the same time to	4
if i may be	4
beautiful and the ugly	4
in the minds of	4
repetition of the same	4
a note and its	4
the judgment of taste	4
as it has been	4
muscles of the body	4
this is the case	4
the proportions of the	4
the horizontal lines of	4
the death of art	4
it will be proper	4
does not suffice to	4
at the time of	4
in the heart of	4
in which it is	4
the reader will find	4
of the presence of	4
and the life of	4
neither more nor less	4
the development of the	4
the system of the	4
with reference to which	4
the parts of the	4
the appreciation of the	4
of science and of	4
problem of the origin	4
must be able to	4
the first of the	4
depends largely upon the	4
is found in the	4
pleasure in the comic	4
the problem of art	4
by means of a	4
with the beauty of	4
i have called the	4
the theory of play	4
the charm of the	4
purpose of art is	4
the man of taste	4
of the effects of	4
projection of the idea	4
from the hand of	4
we pass from the	4
it is no longer	4
the philosopher of art	4
to take stock of	4
the activity of externalization	4
example of this is	4
to the level of	4
art is that it	4
difference between poetry and	4
an end in itself	4
of our own activities	4
of the rhetorical categories	4
of unity in variety	4
such a way that	4
more nor less than	4
as to make the	4
the soul of the	4
the essence of things	4
been the first to	4
in the way of	4
nature and of the	4
lines of the face	4
it is well to	4
some of the most	4
terms of our own	4
only in so far	4
that it does not	4
what is here meant	4
the values of the	4
the strength of the	4
in works of art	4
claim upon the attention	4
it would not be	4
from the confusion between	4
it is not enough	4
because they are not	4
will be found to	4
with the life of	4
is a language which	4
the structure of the	4
this would be a	4
in like manner with	4
the spirit of man	4
in the nineteenth century	4
what i have called	4
which we attach to	4
is the source of	4
one or more of	4
amounts to saying that	4
and expression in the	4
on account of the	4
the center of the	4
perception of the real	4
there must be some	4
from that of the	4
in what manner the	4
into color and line	4
if we think of	4
is the cause of	4
of the characteristics of	4
is it to be	4
the philosophy of history	4
it is not sufficient	4
the beauty of a	4
the criticism of the	4
in the process of	4
any one of the	4
to the form of	4
the subordination of the	4
to the sphere of	4
and transfer of aesthetic	4
sound of the words	4
with the concept of	4
this is the truth	4
in the experience of	4
which is at once	4
to show how the	4
is not possible to	4
the domain of art	4
is said to be	4
and on the other	4
for the reason that	4
the name of the	4
the confusion between the	4
will be proper to	4
as much of the	4
this does not mean	4
the science of aesthetic	4
one of the chief	4
the dominion of art	4
from the domain of	4
of the picture is	4
the world of art	4
the rising of the	4
and of the ugly	4
which there is no	4
the cause of the	4
the presence of a	4
to the art of	4
the rivalry between the	4
it must be admitted	4
the works of nature	4
is the possibility of	4
different from that of	4
as it is in	4
seem to have been	4
in order to appreciate	4
the spiritual activity of	4
the fulfillment of the	4
one to the other	4
the time of the	4
in artistic and literary	4
greater part of the	4
of art is not	4
critique of the beautiful	4
this amounts to saying	4
with the eye of	4
of the colors and	4
of this is the	4
the beginning of this	4
the influence of art	4
the fact that we	4
a great number of	4
the consciousness of the	4
the work of a	4
the student of aesthetics	4
of beauty in the	4
other parts of the	4
in the order of	4
it is as if	4
that is beautiful which	4
in favor of the	4
to the shape of	4
we are able to	4
aesthetic point of view	4
the ugly in art	4
or judgments of value	4
and the degree of	4
of art is to	4
and even in the	4
of the history of	4
are neither beautiful nor	4
we do not want	4
is the result of	4
he was aware of	4
of art should be	4
in the sphere of	4
in the fact that	4
theory of art as	4
the history of philosophy	4
with the word beautiful	4
must be made to	4
of the relations between	4
a more or less	4
it is easy to	4
the part of the	4
a way that the	4
of the aesthetic of	4
of the essence of	4
is the truth of	4
is no other than	4
distinction between the useful	4
the existence of an	4
to the top of	4
may be said of	4
to account for the	4
at the moment of	4
charm of the medium	4
that the content of	4
every one of the	4
to say that the	4
the result of the	4
to this or that	4
transfer of aesthetic emotion	4
of the existence of	4
of the art of	4
there is but one	4
critique of pure reason	4
is the object of	4
work of art may	4
our definition of art	4
a man may be	4
the cause of its	4
to the principle of	4
of life in the	4
the great number of	4
of the sixteenth century	4
than the fact that	4
of the meaning of	4
the legs and thighs	4
a way as to	4
parts of the face	4
has not yet been	3
be made to appear	3
a man or a	3
bottom to the top	3
the relations between the	3
the creation of the	3
hair of the head	3
it would be impossible	3
theoretic character of the	3
aesthetic of pure intuition	3
all except the most	3
to which it belongs	3
think of it as	3
if he be a	3
except in so far	3
without the assistance of	3
the beauties of sense	3
is given to the	3
the perception of a	3
we are dealing with	3
conditions in which the	3
it is a part	3
not the most lofty	3
in the possibility of	3
it is important to	3
that art may not	3
at the present time	3
something more than mere	3
some degree or other	3
of compositions with the	3
ideal and of the	3
this is not the	3
the great merit of	3
of light and colour	3
of the second half	3
man of the world	3
it has often been	3
that can be seen	3
who does not feel	3
as i have said	3
in harmony with the	3
is a function of	3
of art to the	3
the last of the	3
through me the path	3
the art of savages	3
in the representation of	3
too much to say	3
our knowledge of the	3
which are found in	3
as well as with	3
be thought of as	3
with the pleasure of	3
in the character of	3
the music of the	3
does not mean that	3
more than the single	3
with the spirit of	3
ourselves in the place	3
have already had occasion	3
as well as art	3
of which we are	3
so far as to	3
the individual and the	3
colors and lines and	3
well as that of	3
we are aware of	3
the whole and the	3
distinct but not opposite	3
the recognition of the	3
a man of science	3
the happiness of yellow	3
is not the purpose	3
the theoretic character of	3
under the name of	3
me the path to	3
sidenote content and form	3
the merely empirical and	3
the conditions in which	3
that the artist should	3
the middle of the	3
is at the same	3
the warmth of a	3
in which there is	3
facility and difficulty of	3
mere sound of the	3
the energies of the	3
effect of artistic expression	3
first and second degree	3
the cart before the	3
or parts of speech	3
to make use of	3
on a flat surface	3
be fused with the	3
to be distinguished from	3
that natural beauty is	3
to what we call	3
in the creation of	3
there must be an	3
the distinguishing characteristics of	3
beyond the reach of	3
canto of the inferno	3
because it is a	3
not mean that the	3
the other parts of	3
they are composed of	3
connected with the word	3
is the most important	3
the modifications of the	3
there would be no	3
can do is to	3
a large number of	3
if he were to	3
there is no reason	3
for a work of	3
that it was the	3
in order to the	3
but there is no	3
the knowledge of the	3
the aesthetic activity is	3
same is true of	3
which are to be	3
is nothing but the	3
to show that the	3
objective conditions of the	3
and of the artistic	3
are capable of moving	3
are distinct but not	3
our perceptive and empathic	3
the question as to	3
a part of a	3
for the ends of	3
ought to be a	3
of the works of	3
amounts to the same	3
unity of form and	3
between painting and sculpture	3
of truth in the	3
that one of the	3
of all the arts	3
that the science of	3
the ribs of the	3
and the conception of	3
of art are not	3
in such a case	3
unity of the spirit	3
cart before the horse	3
style is the man	3
did not succeed in	3
of art as pure	3
the regularity of the	3
medium of the expression	3
from the top of	3
light and space and	3
and space and air	3
the creation of a	3
the reason for this	3
international congress of philosophy	3
the whole of this	3
that the expression of	3
of all the other	3
the body of a	3
in the art of	3
by an act of	3
from the moral point	3
contains in itself the	3
he is able to	3
movements of the muscles	3
the other hand the	3
means of which we	3
become a part of	3
of the elementary forms	3
that the statue is	3
in like manner the	3
which is absent from	3
the eye by the	3
that what has been	3
look at the mountain	3
the necessity and the	3
already had occasion to	3
the pleasure and pain	3
as distinct from the	3
was aware of himself	3
with one another in	3
the good and the	3
without the representation of	3
in the line of	3
theoretic and practical activity	3
lines of eight syllables	3
this would be the	3
are nothing more than	3
the room in which	3
we put ourselves in	3
in order to get	3
unity in the material	3
for works of art	3
identity of linguistic and	3
conditions of the beautiful	3
theory of the elementary	3
which it would otherwise	3
drawn attention to the	3
the center and the	3
we are at the	3
of cause and effect	3
the beauty of its	3
our study of the	3
give the idea of	3
the one is the	3
is the science of	3
the task of the	3
in the beautiful is	3
to return to the	3
in his treatise on	3
the length of the	3
it is not in	3
down merely to rush	3
of the middle ages	3
of our own lives	3
confusion between physic and	3
to the first of	3
yet at the same	3
which is in the	3
we have just seen	3
long as we are	3
the first and most	3
the colors of a	3
order to be beautiful	3
is an instance of	3
as the whole of	3
he is not a	3
in the same figure	3
of the pure intuition	3
of the great italian	3
the movement of our	3
which we take in	3
of the human form	3
personality in the work	3
from the bottom to	3
of pleasure and of	3
will be found that	3
a good style is	3
the nature of aesthetic	3
of a man or	3
was held to be	3
of the activity of	3
the substance of the	3
each one of these	3
it may not be	3
we are made to	3
is an art of	3
of linguistic and aesthetic	3
a great deal of	3
nominative of a verb	3
and on this account	3
that grace and beauty	3
of a painting or	3
rise and fall of	3
in order that the	3
of lights and shades	3
in the verse of	3
system of the spirit	3
of the choice of	3
is to be a	3
same way as the	3
the nature of those	3
beautiful and of the	3
work of art are	3
to the discovery of	3
and of intuitive knowledge	3
in common with the	3
as a work of	3
relation of man to	3
or at all events	3
is an attempt to	3
the conception of the	3
toward the end of	3
the novel and drama	3
spirit of art is	3
the contemplation of shapes	3
it is characteristic of	3
is a sort of	3
of a man of	3
by the elimination of	3
and the reproduction of	3
between physic and aesthetic	3
has been already said	3
the universality of the	3
i those composed of	3
the aesthetic appreciation of	3
of art and language	3
the attitude of the	3
the man and the	3
as we follow the	3
its union with body	3
art would be the	3
with the idea of	3
of a philosophy of	3
compositions with the serpentine	3
and to the whole	3
if it did not	3
of a poem is	3
by means of this	3
of the sense of	3
are made up of	3
of man to his	3
we shall have to	3
the judgment of the	3
on account of his	3
to have been the	3
with this or that	3
is the index of	3
with works of art	3
all that has been	3
bring before the mind	3
between form and content	3
said to have been	3
the character of an	3
beginning of the nineteenth	3
the shore of the	3
to a work of	3
the material with which	3
the mere sound of	3
the study of poetry	3
the reality of the	3
that are to be	3
and it is only	3
in the horizontal lines	3
indivisibility of the work	3
the notes of the	3
the lengths and directions	3
the painting of the	3
true idea of the	3
pleasure and of pain	3
true nature of his	3
volcanic and glacial action	3
extent to which the	3
classifications of the arts	3
the portrait of a	3
nothing more than a	3
by the light of	3
the sum of two	3
it ceases to be	3
to the sound of	3
the limitation of the	3
shape to the thing	3
the same may be	3
the beautiful in nature	3
from one to the	3
great merit of having	3
claims to be the	3
and what we have	3
of what we call	3
with the freedom and	3
the curved line is	3
the character of a	3
a certain amount of	3
use of color and	3
the aesthetic and the	3
the mind with the	3
the chief factor of	3
the words of a	3
in order to give	3
of art and the	3
they are not the	3
was one of the	3
an introduction to the	3
the confusion between physic	3
of the parts to	3
relative possibility of translations	3
to the works of	3
the accomplishment of verse	3
to the facts of	3
they are expressions of	3
it is the possibility	3
modifications of the beautiful	3
at the top of	3
as in a tower	3
order to appreciate the	3
we shall not be	3
the love of glory	3
and the aesthetic of	3
the concepts of space	3
of the beautiful as	3
the contemplation of the	3
they seem to have	3
the aesthetic of pure	3
work of art in	3
art as pure intuition	3
the truth of the	3
imitation of nature and	3
to the representation of	3
of the divisions of	3
to face with the	3
the science of expression	3
between prose and poetry	3
the weight of the	3
to the theory of	3
one of the first	3
in the natural sciences	3
the faculties of the	3
it belongs to the	3
beauty of the whole	3
at the bottom of	3
in the seventeenth century	3
on the aesthetic education	3
region of the soul	3
is that of a	3
progress in respect to	3
the possibility of aesthetic	3
grow more and more	3
meanings of the word	3
of the use of	3
so much for the	3
passions of the mind	3
does not have to	3
to rush up again	3
on either side of	3
the meaning of words	3
on account of this	3
the representation of a	3
has already been said	3
which is the most	3
the real social world	3
a sense of the	3
of the desire to	3
to the dignity of	3
that it is a	3
in terms of its	3
combinations of lines and	3
between idea and form	3
of art is an	3
not because they are	3
equal to that of	3
between the upward and	3
it has been called	3
in either of these	3
thing in the world	3
us back to the	3
the shape as it	3
our contemplation of the	3
in some degree or	3
for the reproduction of	3
a picture of a	3
for either of these	3
should be at once	3
a new mode of	3
of our own inner	3
united by some common	3
let us begin with	3
even in the case	3
so far as the	3
that he is not	3
not the purpose of	3
the outline of the	3
it would be strange	3
would not have had	3
we want of art	3
can exist without the	3
the beautiful is the	3
all the parts of	3
we are looking at	3
color and line as	3
do not wish to	3
true nature of art	3
that there are no	3
it is desired to	3
the origin of language	3
of the senses and	3
the position of a	3
we know nothing of	3
in more or less	3
to the human form	3
as a means of	3
of directions and impacts	3
by some common interest	3
which has not yet	3
of the one is	3
to the perception of	3
in a certain sense	3
with the qualities of	3
to the doctrine of	3
the parts of a	3
we take delight in	3
to the same thing	3
the winds of march	3
of the whole of	3
bent two different ways	3
the philosophy of hegel	3
of the line of	3
all the other forms	3
reproduction of the beautiful	3
rush up again in	3
a science of the	3
is the substance of	3
as the base of	3
idea of what is	3
each of which is	3
the absurdity of the	3
our interest in it	3
of the science of	3
to the history of	3
from the thought of	3
as though it were	3
horizontal lines of the	3
the first part of	3
have said about the	3
utmost beauty of proportion	3
to the eye in	3
same may be said	3
it has been observed	3
might seem to be	3
in this or that	3
each one of us	3
which gives knowledge of	3
expression of the inner	3
run the risk of	3
of the beautiful in	3
be a sort of	3
this part of the	3
that he should not	3
the case with the	3
through the fact that	3
nor can it be	3
the instance of the	3
concept of the beautiful	3
it a little more	3
of the body in	3
which can only be	3
of ideas in the	3
the type of the	3
its purpose is to	3
for the human body	3
of the experience of	3
and in the same	3
by which it is	3
quite as much as	3
of the muscles of	3
the history of the	3
aesthetic education of man	3
theory of aesthetic senses	3
that the aesthetic fact	3
the value of expression	3
the middle age and	3
the forms of genius	3
rising of the mountain	3
may or may not	3
of ideas and feelings	3
its power to express	3
upon it as a	3
we have already had	3
it would seem as	3
that there must be	3
merely to rush up	3
but it is also	3
to the mind of	3
the life of feeling	3
this theory has been	3
out of the difficulty	3
of the most important	3
dominion of art over	3
the fact of the	3
the divisions of the	3
or the other of	3
they are in the	3
as if they were	3
that is not free	3
from the criticism of	3
of men and the	3
when we speak of	3
art has for its	3
the absolute nature of	3
of the individual arts	3
any more than we	3
to the independence of	3
in order to become	3
as a result of	3
in the appreciation of	3
the identity of the	3
categories of space and	3
of the search for	3
the characteristics of art	3
has its roots in	3
that which is the	3
of the relation between	3
to the judgment of	3
progress in artistic and	3
and it would be	3
is an expression of	3
with reference to our	3
in the knowledge of	3
if it were a	3
we become aware of	3
pleasing to the eye	3
of which we can	3
for the beauty of	3
the aspect before him	3
the difference between a	3
for one of the	3
solution of the problem	3
it is a fact	3
mere imitation of nature	3
is a work of	3
the intrinsic value of	3
the sounds of the	3
single line of progress	3
is nothing more than	3
in respect to aesthetic	3
the downward and outward	3
from the rest of	3
other things being equal	3
as a collection of	3
the projection of the	3
as it is a	3
the vertical lines of	3
in order to obtain	3
the course of the	3
it has been sought	3
as in the other	3
when it has been	3
and in what manner	3
but at the same	3
contemplation of the aspect	3
qualities of the perceived	3
situations with each other	3
of the human voice	3
as we observed in	3
is by no means	3
as we have just	3
activities of the perceiving	3
the unity of language	3
it is not only	3
is an illustration of	3
of more and more	3
of the world to	3
the use of a	3
the truth of things	3
does not attain to	3
for union with music	3
of men and women	3
the peculiarities of the	3
practical judgments or judgments	3
and the beauty of	3
best there is in	3
of the problems and	3
from the shape to	3
can make up for	3
is nothing but a	3
of words and phrases	3
and as it were	3
any work of art	3
knowledge of the whole	3
make use of it	3
because it is an	3
the upper part of	3
it does not belong	3
the general principles of	3
to the demands of	3
as it may sound	3
is not a science	3
is the representation of	3
the being of the	3
of the perceived object	3
and line and sound	3
the style is the	3
works of art is	3
of the musical experience	3
and one of the	3
that have been given	3
of this or that	3
in the former case	3
the spirit in its	3
intuitive or expressive knowledge	3
true work of art	3
the dignity of form	3
by means of words	3
of the concept of	3
a work of the	3
it has sometimes been	3
for the objective conditions	3
with the result that	3
there is no poetry	3
between thought and feeling	3
but a complex of	3
beauty of line in	3
we observed in our	3
the nature of a	3
the figure of a	3
is the first degree	3
large part of our	3
the aesthetic or artistic	3
the outline of a	3
to the point of	3
and line as such	3
the medium of expression	3
and she to me	3
of art is the	3
by the use of	3
may be said that	3
we think of the	3
are more or less	3
of art and literature	3
which may or may	3
for the use of	3
the direction of the	3
it is one of	3
of the lines of	3
in the novel or	3
the formation of the	3
is limited by the	3
much to say that	3
one with the other	3
the bottom to the	3
the author of the	3
to the aesthetic fact	3
and that there is	3
for it is not	3
of the two languages	3
between the aesthetic fact	3
be a part of	3
by reason of the	3
the shape to the	3
of the human race	3
if it does not	3
has a right to	3
and of which the	3
akin to that of	3
in the time of	3
this is true even	3
negations of this thesis	3
the opposition of the	3
there is no disputing	3
the unique value of	3
is for the most	3
which is the same	3
know them to be	3
a function of the	3
work of art that	3
and something of the	3
put ourselves in the	3
this is to be	3
the whole of the	3
it is only by	3
the scientific and the	3
the beauty of bodies	3
where they can be	3
shew in what manner	3
point of view regarding	3
in the best and	3
structure of works of	3
the shapes of the	3
of the soul which	3
in order to win	3
of the perceiving subject	3
is perhaps the most	3
is occupied with the	3
any one of these	3
in a vague way	3
of the aesthetic life	3
has been said of	3
but a science of	3
of the room in	3
the art of varying	3
to our own axis	3
of the size of	3
look at a shape	3
would be strange if	3
the line of grace	3
that he does not	3
is a case of	3
the word beautiful has	3
for their own sake	3
and difficulty of grasping	3
to be the same	3
of progress in artistic	3
order to be aesthetic	3
that they do not	3
formal beauty of the	3
attempts to define the	3
such or such a	3
some of the chief	3
in presence of the	3
of art over nature	3
is better revealed in	3
are by no means	3
as i have already	3
is something more than	3
between the real and	3
the expressiveness of the	3
but in so far	3
each one of them	3
is not sufficient to	3
does not succeed in	3
the aesthetic education of	3
large part of the	3
is at once the	3
to the expression of	3
give the impression of	3
subject with the qualities	3
any other object in	3
because they do not	3
in the second place	3
and the other is	3
in his essay on	3
thought of the poet	3
the life of a	3
the description of the	3
the sake of beauty	3
of the morally indifferent	3
the contrast between the	3
the points of view	3
in what i have	3
a greater or less	3
it is in fact	3
aesthetic or artistic fact	3
one of them is	3
a certain degree of	3
of the union of	3
on the face of	3
in contrast with the	3
difference between the two	3
may be able to	3
the very reverse of	3
upon art as a	3
art is one of	3
to be thought of	3
the duty of the	3
there is nothing so	3
and of the other	3
from the nature of	3
activity of the spirit	3
we must place the	3
the parts to the	3
of the individual is	3
we come to the	3
the word beautiful to	3
of which is a	3
there is a certain	3
impossibility of a normative	3
the subject of the	3
for those who can	3
the perception of shape	3
and what are the	3
limits of the arts	3
perceiving subject with the	3
with that which is	3
greater or less degree	3
the perceiving subject with	3
the negations of this	3
as has been shewn	3
the standard of taste	3
and all the other	3
made use of by	3
critique of the aesthetic	3
an instance of this	3
the objective conditions of	3
is partly due to	3
there is a rhythm	3
of the difference between	3
to make up for	3
can be only a	3
which the eye is	3
particular work of art	3
to the extent that	3
of every part of	3
a contradiction in terms	3
the thesis of the	3
our own activities and	3
of the human figure	3
the place of a	3
the whole of life	3
what is meant by	3
there could be no	3
by the side of	3
as much as the	3
the aesthetic value of	3
the other spiritual activities	3
rest of the body	3
in literature and art	3
as soon as we	3
colors and lines of	3
judgments or judgments of	3
the more complex and	3
the one or the	3
the structure of works	3
but in poetry the	3
of the motor type	3
the sense of being	3
of the fact that	3
qualities of the object	3
the elimination of the	3
should be looked upon	3
the same is true	3
to say of a	3
various forms of the	3
on one side of	3
only by means of	3
which are distinct but	3
beauty of the human	3
the beautiful that is	3
are apt to be	3
the expression of feeling	3
we speak of a	3
the other is the	3
the union of the	3
we prefer because it	3
of art in general	3
the aesthetic fact in	3
aesthetic as the science	3
in a position to	3
have something to say	3
it is not true	3
composed of straight lines	3
of a physical object	3
we may call it	3
looks upon art as	3
in the university of	3
as to be able	3
a fifth form of	3
the ideas of the	3
what we call our	3
may be seen in	3
the history of literature	3
between the aesthetic and	3
which is not a	3
judgment of taste is	3
proportions of the human	3
beauty in the medium	3
meaning of a word	3
lines of a painting	3
between poetry and music	3
of the romantic period	3
work of art has	3
as the concept of	3
things which are distinct	3
is the unity between	3
the beauty of which	3
and beauty of the	3
for there is always	3
by those who have	3
the rays of light	3
as we do not	3
american journal of psychology	3
the critique of judgment	3
of the words and	3
the vision of the	3
the poetics of aristotle	3
the inside of a	3
we say to the	3
in some of the	3
of the middle age	3
one part of the	3
which is the first	3
of the material with	3
is not necessary to	3
in the representative arts	3
so long as they	3
a good deal of	3
the persistence of the	3
dropping down merely to	3
the office of the	3
the different parts of	3
as we have said	3
the first volume of	3
it is in the	3
we should not be	3
to be seen in	3
because it is not	3
the first place in	3
is to be seen	3
for the time being	3
and we shall find	3
elements of the experience	3
that which leads to	3
the solution of the	3
and that of the	3
doctrine of the concept	3
in the conduct of	3
to make as good	2
artist must have a	2
the process of comparison	2
in consequence of this	2
artistic intuitions have need	2
of the materials and	2
well thought and badly	2
there is a clear	2
one of the three	2
the mind from the	2
carries with it the	2
internal form of language	2
view which we have	2
the truths and errors	2
as i have tried	2
mental and bodily activities	2
the physical with the	2
processes by which we	2
differentia of poetry and	2
the practical from the	2
so far as i	2
contents of the body	2
and in this sense	2
if the symbol be	2
of art or of	2
in zeitschrift fuer psychologie	2
the effects of beauty	2
yet it should be	2
of the ugly in	2
as well as into	2
the aesthetic fact and	2
that we get from	2
it is because the	2
book of paradise lost	2
wrong in believing that	2
for the artist to	2
to be divided into	2
up at rhythmical intervals	2
the evils of life	2
may be of a	2
enters deep into its	2
the case of ordinary	2
we have already found	2
what becomes of the	2
of another aspect of	2
it is a familiar	2
not the business of	2
there is this difference	2
immediate consciousness of self	2
will venture to say	2
we come now to	2
turns of the head	2
in the middle ages	2
line of progress and	2
may be of more	2
it is we who	2
is essential to the	2
of movement which empathy	2
the sphere of painting	2
face of evening cannot	2
the less because it	2
beauty is to be	2
the figure of the	2
mind come ideas through	2
physically beautiful in nature	2
since architecture is a	2
which are called aesthetic	2
the best of it	2
sounds and their rhythms	2
a means to an	2
by a kind of	2
took its rise from	2
mind of the reader	2
certain instincts and habits	2
the beauty of geometrical	2
writers of the period	2
activities of the subject	2
in it we find	2
the course of history	2
is it possible to	2
ribs of the vaults	2
of the arts was	2
to the purpose of	2
is not true that	2
complete in a single	2
of practical judgments or	2
sullen earth sings hymns	2
beautiful and the good	2
as much to be	2
he does not speak	2
be put to the	2
that can be grasped	2
we shall later see	2
seem to belong to	2
he does not care	2
play upon the eye	2
this definition of the	2
that we not only	2
his critique of judgment	2
there is no part	2
a view to this	2
who weeps and speaks	2
when it does not	2
our interest in the	2
precept of michael angelo	2
it has been said	2
critique of the philosophy	2
in this he is	2
would seem as if	2
as in this case	2
useful and the technical	2
our hopes and fears	2
the thought that the	2
values of the past	2
for want of knowing	2
to the freedom of	2
is largely a matter	2
that day we read	2
that the criterion of	2
of the waving line	2
i do not doubt	2
the body as a	2
of the body beautiful	2
better illustrated than in	2
in art and of	2
in order to understand	2
if this were so	2
that the content is	2
as distinguished from the	2
and feelings that are	2
the same number of	2
when we use the	2
line as a principle	2
does not interfere with	2
can be done is	2
does not know that	2
the outcome of the	2
part of human experience	2
of the arts is	2
the products of art	2
nothing but a complex	2
rather than imagery is	2
third canto of the	2
of some service to	2
of a verb to	2
under the head of	2
of which we have	2
have been constructed to	2
precise line of grace	2
the man of the	2
imagination there cannot be	2
the tones of the	2
will is our peace	2
which he can apply	2
of the father of	2
will depend upon the	2
and the concepts of	2
the skin is taken	2
of the human spirit	2
it would be altogether	2
be enveloped in the	2
than joy in sorrow	2
said before of the	2
of human experience which	2
taken into account in	2
no attempt is made	2
and foot and head	2
george the third is	2
only way out of	2
the aesthetics of poetry	2
visible and audible shape	2
get no farther with	2
it is a language	2
is in his view	2
he who is most	2
is impossible to impart	2
take stock of it	2
which differs from the	2
to the natural sciences	2
the aesthetic theory of	2
it should always be	2
a monopoly of culture	2
but he did not	2
spiritual activity of man	2
at the university of	2
to be part of	2
characteristic of art is	2
would compare the influence	2
the mind of every	2
man and the man	2
our point of view	2
top of a building	2
vii analogy between the	2
between science and art	2
two types are exemplified	2
of the aesthetic emotion	2
and move and have	2
is possible to find	2
the source of its	2
good examples of this	2
we must be able	2
last figure of the	2
the fact that in	2
the exception of the	2
would not be possible	2
a notion of the	2
is revealed in the	2
the arts which we	2
is as much a	2
is to be done	2
are beyond the reach	2
has failed to do	2
the eye with the	2
in a masterly manner	2
were to say he	2
we have direct experience	2
the feeling tones of	2
the modes of being	2
felt by us to	2
that the artist must	2
error of the morally	2
and the manner in	2
of the fourteenth century	2
but we do not	2
questions as to the	2
the different forms of	2
not enter into the	2
the work of genius	2
content to the dignity	2
be part of an	2
to the growth of	2
it is known that	2
there is a unity	2
the characters of their	2
of taste and genius	2
as to the first	2
is in no way	2
the infinite detail of	2
is a further proof	2
of pure intuition makes	2
which he takes in	2
we fall into a	2
when the life expressed	2
not so unkind as	2
them in a certain	2
to draw from it	2
of language and its	2
emotional response to the	2
the movements which we	2
which allows us to	2
he must have a	2
we may venture to	2
at the time when	2
yet it must be	2
is of exactly the	2
work of art must	2
which may be said	2
little more than a	2
a shape which we	2
with respect to each	2
is greater than any	2
between content and form	2
never had the impression	2
of a philosophical system	2
as skies are blue	2
as compared with the	2
in the highest degree	2
lines of a building	2
in much the same	2
in an arbitrary manner	2
in the right way	2
and in doing this	2
between those concepts and	2
it is the life	2
following of many false	2
it in the imagination	2
the moderns have not	2
and expression of the	2
in the words of	2
of man upon nature	2
critique of the symbol	2
the instinct of gregariousness	2
of our own thought	2
draw attention to the	2
have in their minds	2
with the mechanism of	2
merry wives of windsor	2
we have already seen	2
the mise en scene	2
represented as belonging to	2
throw no light upon	2
the merry wives of	2
the dependence of man	2
the power of sound	2
the majesty of the	2
independence in respect to	2
the quality of his	2
and the elements of	2
the visual sensations which	2
of the novel and	2
a fixed quantity of	2
is the most beautiful	2
we will not dwell	2
the general dimensions of	2
the first of all	2
the importance of the	2
the love of the	2
with two sets of	2
horizontal and the vertical	2
after they were dead	2
in which they live	2
order to give it	2
of the different effect	2
is still in the	2
but we shall not	2
the same in a	2
philosophy of the beautiful	2
and the reform of	2
to have as much	2
assume a purer eye	2
order to increase the	2
aesthetic activity and physical	2
iii art and philosophy	2
front of a building	2
as the painters call	2
the expression of them	2
she would not have	2
a great deal more	2
in the poetical there	2
sidenote the beautiful as	2
of the spirit of	2
such as are the	2
the feelings of pleasure	2
economic side of morality	2
are not able to	2
the form which he	2
curve of the arch	2
by ourselves and by	2
will merely say that	2
belong to the world	2
is to be understood	2
synonyms of the aesthetic	2
away from the shapes	2
poetry is like a	2
i say unto you	2
in order to recognize	2
representative of the whole	2
of the tonal relations	2
the true proportion of	2
in that of the	2
is the explanation of	2
take their place in	2
that it may not	2
the most intense and	2
character of the expression	2
catch a glimpse of	2
so much the vogue	2
art and literature has	2
compare the influence of	2
it to consist of	2
is no such thing	2
failed to discern the	2
whole volumes have been	2
philosophy as perfect science	2
is true even when	2
the real space of	2
to the sense elements	2
a rhythmical movement of	2
the one that follows	2
contraries and their union	2
should be made to	2
criticism in literature and	2
and philosophy of his	2
figure of the horn	2
its solution through the	2
a choice between two	2
the enjoyment of poetry	2
realized in many works	2
from the yoke of	2
category of the spirit	2
connection with the life	2
of art in the	2
the fact that such	2
not have had the	2
literary movement of the	2
to account for this	2
supposed to have been	2
the only difference lies	2
of which the following	2
of taste is absolute	2
an intuition of the	2
in the confusion of	2
of which we speak	2
it is limited to	2
there is no passage	2
of the value of	2
could not be without	2
the nature and function	2
of eight syllables each	2
you think or feel	2
belonging to the human	2
and the recognition of	2
that in order to	2
walking on a country	2
by aesthetic progress is	2
movements in the serpentine	2
of progress and regress	2
was not able to	2
superior to all the	2
case of the latter	2
xvii the history of	2
in order to reach	2
it was necessary to	2
i have tried to	2
of the critique of	2
oxford lectures on poetry	2
perceptions of space and	2
but to be a	2
ourselves with the object	2
of the body may	2
life in the mind	2
of verisimilitude and of	2
hearts and strong heads	2
real or of the	2
were to wish to	2
all figures of speech	2
the degree of the	2
the muscular leg and	2
every point of view	2
and the physical fact	2
preoccupied with the practical	2
is tantamount to saying	2
like the rising of	2
could not have been	2
volume of the causeries	2
between music and verse	2
the concreteness of the	2
we are engaged in	2
a good example of	2
that are the normal	2
the literary movement of	2
the full meaning of	2
use of the ugly	2
within the bounds of	2
is a poet of	2
with which it works	2
the case of symmetry	2
a statue of a	2
called physically beautiful in	2
strike flat the thick	2
i have also made	2
also a law of	2
the span of a	2
of action or of	2
expressions which are neither	2
any part of the	2
submit it to the	2
or any other form	2
the normal accompaniments of	2
as far as to	2
the opening of the	2
repeated again and again	2
and therefore cannot be	2
a mountain or a	2
forms of spiritual activity	2
the sunshine of the	2
a confused medley of	2
nowhere better illustrated than	2
of time and space	2
union of the arts	2
an element of form	2
over every part of	2
of literary and artistic	2
must have something to	2
is impossible to express	2
has taught us that	2
on which it is	2
which is the true	2
manner in which objects	2
fall back again into	2
and here it is	2
what might be done	2
evident in the case	2
the knowledge of what	2
the result of this	2
to have met with	2
is the work of	2
let us assume that	2
it is social and	2
that can be done	2
to some they would	2
in the shapes of	2
they cease to be	2
have an idea or	2
he finds in the	2
is obtained when the	2
by the awareness of	2
work of art by	2
the difference between poetry	2
of speech and the	2
of ideas in art	2
in the open air	2
is a rhythmical movement	2
the subject in the	2
critique of aesthetic associationism	2
when action is impossible	2
called aesthetic or artistic	2
to give rules for	2
real and the unreal	2
far as we are	2
of ethic and of	2
preference for works of	2
constitutes the utmost beauty	2
is the feeling of	2
have little or no	2
shall demand of the	2
may be aroused in	2
do not doubt that	2
with the fact that	2
the maternal language of	2
the former was the	2
general dimensions of a	2
the habit of avoiding	2
what way is it	2
the content of art	2
our chapter on the	2
origin and nature of	2
the elements of mind	2
by a series of	2
of words which are	2
are the peculiarities of	2
truths and errors of	2
which is only imperfectly	2
the situation in aesthetics	2
is not to be	2
days when the diarist	2
in the immediately preceding	2
as it is of	2
the block of marble	2
the beauty of mere	2
movements in such lines	2
two forms of practical	2
of it as a	2
ask of the novelist	2
noumenon in practical activity	2
produce a work of	2
it will be difficult	2
be laid down for	2
colors of a painting	2
do not feel the	2
looked upon aesthetic as	2
the unity of form	2
it is the only	2
is nowhere better illustrated	2
that the art of	2
an aesthetic of the	2
qualities and reactions constituting	2
the relative possibility of	2
the idea of its	2
we shall find that	2
began seriously to seek	2
that we may react	2
he failed to discern	2
it may be a	2
eye of the artist	2
show that the same	2
is that of form	2
the object of art	2
by a vigilant and	2
lines suggest to us	2
as will and idea	2
various and variously combined	2
the same manner as	2
in his critique of	2
as belonging to the	2
tends to interfere with	2
the novel or the	2
the thing of which	2
is a simple one	2
in the manner of	2
dost not help me	2
the purpose in hand	2
is one we like	2
is doubtless due to	2
the mere repetition of	2
be beautiful or ugly	2
thought to be the	2
of authority in aesthetics	2
the best of him	2
there is nothing left	2
critique of the imitation	2
in the very first	2
it is this that	2
we have already remarked	2
acceptance of it as	2
music of color and	2
other parts of his	2
no proof that they	2
and in what way	2
is one part of	2
imperfectly realized in many	2
of the facts of	2
with the natural sciences	2
would have been a	2
how it all came	2
care must be taken	2
we should have to	2
is one of its	2
and so we have	2
side of the nave	2
to the division of	2
the pedagogic theory of	2
the rhode island art	2
as to give us	2
there is no such	2
our thinking away from	2
of the love of	2
and the motives underlying	2
of evening cannot be	2
the temperamental quality of	2
compare art with the	2
merely the thought of	2
the degrees of obliquity	2
in italian and german	2
that would be music	2
critique of aesthetic hedonism	2
be seen an example	2
as we get a	2
what are those combinations	2
with which it is	2
that there are two	2
by the privation of	2
beautiful is an adjective	2
as to produce a	2
but after what manner	2
is necessary that whoever	2
as to the beauty	2
there is no genuine	2
which may be called	2
a synthesis of the	2
the reproduction of art	2
of a geometrical figure	2
in the acts of	2
no matter how intimate	2
it is on account	2
origin of language and	2
man that he is	2
of them in the	2
the object of a	2
in his will is	2
please us with their	2
even when the artist	2
shapes which are only	2
the upward and the	2
arising from the confusion	2
the difficulty of the	2
or in other words	2
the rough and ready	2
definitions of the comic	2
its way into the	2
the relations of the	2
we believe that the	2
the very possibility of	2
we are sensible of	2
so long as the	2
with regard to light	2
the problems and conditions	2
about the beauty of	2
must be the same	2
our red and black	2
movements in serpentine lines	2
the seventeenth century is	2
the concept of sincerity	2
feelings of pleasure and	2
passing on to the	2
summary of the inquiry	2
of this are the	2
carefully distinguished from the	2
one expression into another	2
use of the medium	2
of the first volume	2
and even when the	2
will be made to	2
confirm the fact that	2
of first and second	2
of unity has its	2
it for the sake	2
is often the case	2
them that are beautiful	2
are explained to the	2
which we feel in	2
a pleasure in the	2
his treatise on painting	2
of the mountain is	2
the characteristic quality of	2
we have not said	2
not in order to	2
by the word beautiful	2
in part at least	2
in which he is	2
or at the most	2
aesthetik und allgemeine kunstwissenschaft	2
the first three words	2
after what manner are	2
particular works of art	2
of those parts of	2
the origin and nature	2
does not feel a	2
that the beautiful is	2
traced by the eye	2
of the inspiration of	2
individuality of speech and	2
instincts and habits of	2
be felt as one	2
motor mechanism of the	2