The higher activities of civilization, 171. The attempt to apply aesthetic standards to life, 172. The claim of art to exemption from moral criticism is based on misapprehension. Morality not a special interest, but the fundamental interest, 174. Morality does not substitute its canons for those of art, 175. II. DEFINITION OF ART AND THE ESTHETIC INTEREST . . . . . . 176 Art as the adaptation of the environment to interest, 176. Industrial art and fine art, 177. The aesthetic interest: the interest in apprehension, 179. The interest in sensation and perception, 181. The emotional interest, 182. Instinct and emotion in the aesthetic experience. Poetry and music, 183. The interest in discernment, 185. The representative element in art exemplified in Greek sculpture, 185. And in Italian painting of the Renaissance, 187. Levels and blendings of the aesthetic interest, 189. The moral criticism of the aesthetic interest, 190. III. THE SELF-SUFFICIENCY OF THE AESTHETIC INTEREST . . . . 192 The aesthetic interest is capable of continuous development, 192. And is resourceful, 192. But tends on that account to be narrow and quiescent, 192. IV. THE PERVASIVENESS OF THE ESTHETIC INTEREST . . . . . . . 194 The aesthetic interest may supply interest where there is none, or enhance other interests, 194. But it must not be allowed to replace other interests, 195. V. THE VICARIOUS FUNCTION OF THE AESTHETIC INTEREST . . . . 197 Other interests may be represented by the aesthetic interest, 197. The danger of confusing vicarious fulfilment with real fulfilment, 198. And of being aesthetically satisfied with failure, 199. VI. ART AS A MEANS OF STIMULATING ACTION . . . . . . . . . . 201 Art is a source of motor excitation,201. But such excitation is morally indeterminate, 201. Such influences must be selected with reference to their effect on moral purpose, 202. VII. ART AS A MEANS OF FIXING IDEAS . . . . . . . . . . . . 203 The higher practical ideas have no other concrete embodiment than art, 203. Art both fixes ideas and arouses sentiment in their behalf, 204. But if art is to serve this end it must be true, 205. Untruth in art, 206. Universality and particularity in art, 207. Art may invest ideas with a fictitious value, 208. VIII. THE LIBERALITY OF THE AESTHETIC INTEREST . . . . . . . 209 Art is unworldly, 209. The aesthetic intercourse promotes social intercourse on a high plane, 210. IX. CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . 212 When subjected to moral control, art may make the environment harmonious with morality, 212. CHAPTER VI THE MORAL JUSTIFICATION OF RELIGION . . . . . . . . . . . . 214 I. THE DEFINITION OF RELIGION . . . . . . . . . . . . . . . 214 The sound practical motive in religion, 214. Religion as belief, 216. Summary definition of religion, 218.