For art-evolutional questions consult: IX. _Haddon._ Evolution in Art, 1895. X. _Yrjö Hirn._ Origins of Art, Macmillan, 1900. XI. _Levinstein._ Kinderzeichnungen, Leipzig, 1905. XII. _Loewy._ Nature in early Greek Art (translation), Duckworth, 1907. XIII. _Delia Seta._ Religione e Arte Figurata, Rome, 1912. XIV. _Spearing._ The Childhood of Art, 1913. XV. _Jane Harrison._ Ancient Art and Ritual, 1913. INDEX Aesthetic: aridity, 136-7; imperative, 99-100; irradiation, 147-52; purification, 149-52; responsiveness, active nature of, 128-36; habit and familiarity affecting, 134-6 Altamira cave frescoes, 95 Art: differential characteristic of, 116-18; non-aesthetic aims of, 99-100, 137-8; utility of, 153-5 Aspect: aesthetics concerned with, 15, 21, 105; shape the determining feature of, 26-8 Attention, a factor distinguishing perception from sensation, 32 Balfour, H., 95 Beautiful: aesthetic irradiation proceeding from use of adjective, 147-8; attitude implied by use of adjective, 2-7, 18-19; empathy the chief factor of preference, 67-8; implies desire for reiterated perception, 53-4 Botticelli, 83 Brahms' _German Requiem,_ 150 Browning's _Abt Vogler,_ 141 Coleridge's _Ode to Dejection,_ 131 Colour, passive reception of, 23-4, 29 Contemplative satisfaction marking aesthetic attitude, 8-15 Correggio's _Danae,_ 151 Cubic Existence: perception of, 85; pictorial suggestion of, importance attached to, discussed, 101-5 _Discobolus,_ 115 Einfühlung, 59; misinterpretations of, 66-7 Emotion, storage and transfer of, 139-46 Empathy, 61-69; complexity of movements of lines, 78-83; movements of lines, 70-77; second element of shape-perception, 59-60 Extension existing in perception, 35-8 Fechner, 130 Hildebrand, 102, 118 Inner Mimicry, 74-5 James, W., 153 Keats' _Grecian Urn,_ 77 Levinstein, 96 Lipps, 66 Locomotion of Things, distinction between, and empathic movement of lines, 111-16 Lotze, 66 Mantegna, 82 Memory: a factor distinguishing perception from sensation, 32; in perception, 40-1 Michel Angelo, 114, 122 Movement of Lines, distinction between, and locomotion of Things, 111-16; _see also_ Empathy Object of Perception, subject's activities merged in, 57, 58 Perception: active process involved in, 29-34, 128-9; distinguished from sensation, 32; subject and object of, 55-60 Raphael's _Heliodorus,_ 119 Relaxation an element of form-perception, 42 Rembrandt, 122 Rythm, 42-5