route of the sublime and the beautiful, as well as by that of the true and the good. The emotion that the beautiful produces turns the soul from this world; it is the beneficent emotion that art produces for humanity. FOOTNOTES: [112] _Recherches sur l'Art Statuaire._ Paris, 1805. [113] Paris, 1815, in folio, an eminent work that will subsist even when time shall have destroyed some of its details. [114] Since reprinted under the title of _Essais sur l'Ideal dans ses Applications Pratiques_. Paris, 1837. [115] Translation of Plato, vol. xii., _Timaeus_, p. 116. [116] _Orator:_ "Neque enim ille artifex (Phidias) cum faceret Jovis formam aut Minervae, contemplabatur aliquem a quo similitudinem duceret; sed ipsius in mente insidebat species pulchritudinis eximia quaedam, quam intuens, in eaque defixus, ad illius similitudinem artem et manum dirigebat." [117] _Raccolta di lett._ _Sulla pitt._, i., p. 83. "_Essendo carestia e de' buoni giudici e di belle donne, io mi servo di certa idea che mi viene alla mente._" [118] "A picture representing a broken glass over several subjects painted on the canvas, by which the eye is deceived." [119] Vassari, _Vie de Raphael_. LECTURE IX. THE DIFFERENT ARTS. Expression is the general law of art.--Division of arts.--Distinction between liberal arts and trades.--Eloquence itself, philosophy, and history do not make a part of the fine arts.--That the arts gain nothing by encroaching upon each other, and usurping each other's means and processes.--Classification of the arts:--its true principle is expression.--Comparison of arts with each other.--Poetry the first of arts. A _resume_ of the last lecture would be a definition of art, of its end and law. Art is the free reproduction of the beautiful, not of a single natural beauty, but of ideal beauty, as the human imagination conceives it by the aid of data which nature furnishes it. The ideal beauty envelops the infinite:--the end of art is, then, to produce works that, like those of nature, or even in a still higher degree, may have the charm of the infinite. But how and by what illusion can we draw the infinite from the finite? This is the difficulty of art, and its glory also. What bears us towards the infinite in natural beauty? The ideal side of this beauty. The ideal is the mysterious ladder that enables the soul to ascend from the finite to the infinite. The artist, then, must devote himself to the representation of the ideal. Every thing has its ideal. The first care of the artist will be, then, whatever he does, to penetrate at first to the concealed ideal of his subject, for his subject has an ideal,--in order to render it, in the next place, more or less striking to the senses and the soul, according to the conditions which the very materials that he employs--the stone, the color, the sound, the language--impose on him.