(_γ_) The significance of colour. Modelling. Of gradations of colour and its symbolism. Of various schemes of colour. Colour harmony. The painting of the human flesh. The mystery of colour The creative impulse of the artist] (_c_) Artistic conception, composition, and characterization [Painting can only embody one moment of time. Concentration of interest. The law of intelligibility. Religious subjects, their advantage in this respect. Historical scenes as appropriate to particular buildings. Unity of entire effect. Raphael's Transfiguration. Of the treatment of landscape as subordinate. The grouping of figures. The form of the pyramid. Comparison of the characteristic in painting and sculpture. The treatment of love's expression in religious subjects. The gradual elaboration of the portrait. The situation which is itself a critical moment in characterization] 3. The historical development of Painting (_a_) Byzantine painting (_b_) Italian painting. General review of its spirit in religious and romantic subject-matter [(_α_) Characteristic features of early type: austerity, solemnity, and religious elevation (_β_) The free acceptance of all that is human and individual. The influence of Giotto. Later schools mark a still further advance in naturalism. Masaccio and Fra Angelico. The pictorial representation of secular subjects (_γ_) Further advance in power of emotional expression. Leonardo da Vinci, Perugino, Raphael, and Correggio.] (_c_) The Flemish, Dutch, and German schools [(_α_) The brothers Van Eyck. Innocence, naïveté, and piety of early Flemish School. Contrast with Italian masters (_β_) The emphasis by North German painting on ugliness and brutality (_γ_) Dutch painting. Historical conditions of its appearance. General characteristics of Dutch art] CHAPTER II MUSIC INTRODUCTION [Summary. The principle of subjectivity, as realized in painting, contrasted with its complete emancipation in the art of music. Annihilation of spatial objectivity. Motion with its resultant effect in musical tone. Analysis of the twofold negation of externality in which the fundamental principle of musical tone consists. The inner soul-life exclusively the subject-matter of music. Addressed also in its effect to such] Division of subject 1. The General Character of Music (_a_) Comparison of music with the plastic arts and poetry [(_α_) Both affiliated to and strongly contrasted with architecture. It resembles architecture in the nature of the configuration of its content as based on rigorously rational principles directed by human invention. It supplies the architectonic of the extreme of ideality as architecture supplies that of the external material of sense. The quantitative or measure relation is the basis of both