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 M. CAKRlfeRE, &STHETIK. 109 the pure physiologists in denying to introspection any part in the elucidation of mental problems like this of personality. This must be my excuse for dwelling so long on the point, and in so doing seeming almost to take up an unfriendly attitude towards a book with the aim and method of which I am on the whole in such cordial sympathy. JAMES SULLY. JEsihetik. Die Idee des Schonen und ihre Verwirklichung im Leben und in der Kunst. Von MORIZ CARRIISBE. Dritte neu bearbeitete Auflage. Erster Theil. "Die Schonheit. Die Welt. Die Phantasie." Zweiter Theil. " Die bildende Kunst. Die Musik. Die Poesie." Leipzig : F. A. Brock- haus, 1885. Pp. xxii., 627; xiv., 616. Although it cannot be said that no contributions have been made in England to the theory of ^Esthetics, we have certainly nothing to put beside a treatise such as the present. English criticism of art has usually taken the form of isolated suggestions worked out in a limited field rather than that of systematic theoris- ing on the whole subject of art. This may by some be considered an advantage, as making easier for the critic the purely receptive attitude towards works of art the fixing of the attention on the impression received without any attempt at judgment of it by arbitrary rules such as were laid down by English and French critics of the last century ; and, no doubt, there is some advantage in this attitude as compared with that of the older schools of criticism. At the same time the absence of accepted philosophical principles carries with it greater disadvantages. The present work is well fitted to make clear how much is gained by treating art from a philosophical point of view. It has, besides, the merit of combining with philosophical method an appreciation of art for its own sake and a power of expression sufficient to have made the author's reputation as a purely literary critic. One of the best features of the book is that, whenever it is possible, the judgments of artists on their own art are taken as the basis of the exposition ; and perhaps the great advantage that a German has over an English critic, in an attempt to treat systematically the science of aesthetics, consists in his having behind him a far larger body of theorising by artists themselves both on art in general and on the limits of the special arts. The mode of treatment adopted in the present work will be best understood from a sketch of the author's general view as developed in vol. i.; but before proceeding further it may be well to give the briefest possible indication of the chief divisions of Prof. Carriere's book. The more general problems of the philosophy of art, the definition of beauty, the relation of beauty in art to beauty in nature, and the character of aesthetic ends as distinguished from