Confining ourselves to bare mention of the works of Riedel (1767), Faber (1767), Schütz (1776-1778), Schubart (1777-1781), Westenrieder (1777), Szerdahel (1779), König (1784), Gang (1785), Meiners (1787), Schott (1789), Moritz (1788),[52] we will select from the crowd the _Theory of Fine Arts and Letters_ (1783) of Johann August Eberhard, successor to Meier in the Chair at Halle,[53] and the _Sketch of a Theory and Literature of Letters_ (1783) by Johann Joachim Eschenburg, one of the most popular books of the day for students.[54] Both these authors are followers of Baumgarten, with inclinations towards sensationalism; amongst other things Eberhard considered the beautiful as "that which pleases the most distinct senses," that is to say, of sight and hearing. [Sidenote: _J. G. Sulzer._] A word must be accorded to Sulzer, in whom we find the most curious alternation of new and old, the romantic influence of the new Swiss school and the utilitarianism and intellectualism of his day. He asserts that beauty exists wherever unity, variety and order are found: the work of an artist is strictly in the form, in lively expression (_lebhafte Darstellung_): the material is irrelevant to art, but the duty of every reasonable and sensible man is to make judicious selection. The beauty which is used to clothe the good as well as the bad is not the ineffable, celestial Beauty, offspring of the alliance between the beautiful, the good and the perfect, which awakens more than mere pleasure, a veritable joy which ravishes and beatifies our soul. Such is the human face when, by filling the eye of the beholder with the pleasure of form arising from the variety, proportion and order of the features, it proceeds to arouse the imagination and intellect by its suggestion of interior perfection; of the same nature is the statue of a great man carved by Phidias, or a patriotic oration by Cicero. If truth lie outside art and belong to philosophy, the most noble use to which art may be put is to make us feel the important truths which lend her strength and energy, not to mention that truth itself enters into art in the shape of truthful imitation or representation. Sulzer also repeats (and he is not the last) that orators, historians and poets are intermediaries between speculative philosophy and the people.[55] [Sidenote: _K. H. Heydenreich._]