Relationships of Parts the true object of Imitation--Illustrations derived from Drawing and Literature . . 58 § V. A Work of Art not confined to Imitating Relationships of Parts--Modification of the Principle in the greatest Schools; Michael Angelo, Rubens--The Medici Tomb--The 'Kermesse.' Definition of Essential Character: Examples of the Lion and the Netherlands. Importance of Essential Character; Nature imperfectly expressing it, Art supplies her place--Flanders in the time of Rubens, and Italy in the time of Raphael. Artistic Imagination--Spontaneous Impressions, and their power of Transformation. Retrospect; successive steps of the Method, and Definition of a Work of Art 62 § VI. Two Parts in this Definition--How Music and Architecture enter into it--Opposition of the first and second group of Arts--The first copies Organic and Moral Dependencies; the second combines Mathematical Dependencies. Mathematical Relationships perceived by the sense of sight--Different classes of these Relationships--Principle of Architecture. Mathematical Relationships perceived by the sense of Hearing--Different classes of these Relationships--Principle of Music--The second Principle of Music, Analogy of the Sound and the Cry--Music, on this side, enters into the first group of Arts. The definition given is applicable to all the Arts 83 § VII. The Value of Art in Human Life--Selfish Acts for the preservation of the Individual--Social Acts tending to preserve the Species--Disinterested Acts having for object the contemplation of Causes and Essentials--Two ways for attaining this end; Science and Art--Advantages of Art 89 PART II. PRODUCTION OF THE WORK OF ART. § I. General Law for the Production of the Work of Art--First Formula--Two sorts of Proof, one of Experience, and the other of Reasoning 95 § II. General Exposition of the Action of Social Mediums--The Development of the Plant compared with the Development of Human Activity--Natural Selection 97 § III. The Action of a Moral Temperature--The Influence of Melancholy and Cheerful States of Mind--The Artist is saddened by his personal share of misfortune--By the melancholy ideas of his contemporaries--By his aptitude for defining the salient character of objects, which here is sadness--He finds suggestions and enlightenment only in melancholy subjects--The Public comprehends only melancholy subjects. An inverse case, state of prosperity and general joy--Intermediate cases 105 § IV. Real and Historical cases--Four Epochs, and four leading Arts 117 § V. Greek Civilization and Antique Sculpture--Comparison of Greek manners with those of contemporaries--The City--The Citizen--Taste for War--The Athlete-Spartan Education--The Gymnasium in other parts of Greece. Conformity of Customs with Ideas--Nudity--Olympic Games--The Gods perfect Human Figures. Birth of Sculpture; Statues of Athletes and of Gods--Why Statuary sufficed for the Artist's Conceptions--Immense Number of Statues 119