In the case of a fully developed animal, where the position of parts is fixed, a type may be conceived which is superior in symmetry and harmony to any individual of the species produced by nature, for the imagination is restricted to an unchangeable form, and has but to put together perfected parts and proportions. But this conception can only be applied in art to human beings, because in respect of other animals, while no two are alike, the members of each species, or each section of a species, seem to be alike, or so closely alike in form and expression, that no perfected type can be conceived which will appear to be superior in general beauty to the normal individual of the species, or section thereof, coming within actual experience. Thus, the most perfect conceivable racehorse painted on canvas, might in reality be more perfect in form than any actual racehorse, but to the observer of the picture it would not appear to be of greater perfection or higher beauty than racehorses that come, or may come, within experience. The poet may describe the actions and appearance of a courser in such a way as to suggest that the animal has qualities far above experience, but the form of the animal when thrown on the mind of the reader, would still appear to be within the bounds of experience. With the human being, in addition to the general form there enters into consideration the countenance, which is the all-important seat of beauty, is the principal key to expression, and which, to the common knowledge, differs in every person in character and proportions. Nature never produces a perfect form with a perfect countenance, and she actually refuses to provide a countenance which is free from elements connected with purely human instincts and passions. But it is within the power of art to correct the work of nature in these respects--to put together perfect parts, and to provide a general expression approaching our highest conceptions of human majesty. Homer, Phidias, and Raphael have enabled us to throw upon our minds images far above any of actual experience. Apart from these ideal forms, nature cannot be surpassed by art in the production of beauty, either in respect of animate or inanimate signs, separately or collectively, the latter because within the limitations of art, there is no grouping or arrangement of signs possible which would not appear to correspond with what may be observed in nature, unless something abnormal and less beautiful than any natural combination be presented. Poetry, painting, and sculpture may be concerned with ideals. In fiction an ideal is impossible because the writer must treat of life as it is, or as it appears to be, within the bounds of experience. In neither music nor architecture is there a basic sign or combination of signs upon which the imagination may build up an ideal. CHAPTER II LAW OF RECOGNITION IN THE ASSOCIATED ARTS