THE FESTAL DEVELOPMENT OF ART. 739 



very necessity under which they labor to limit themselves to a 

 definite attitude, depriving them of the most salient characteristic 

 of the other group of arts — movement and power of change." He 

 then offers the following classification : 



I. Arts of the Eye : Architecture, sculpture, painting. 



II. Arts of the Ear : Dancing, music, poetry. 



We may accept this as the basis of a grouping of the fine arts, 

 but it should be revised in the light of two considerations : First, 

 it is a mixed classification, for dancing does not appeal to us 

 through the ear only, as Veron asserts, but partly through the 

 eye also, in the case of a spectator, but mainly through the mus- 

 cular sense ; and, second, it is a grouping that entirely ignores the 

 genetic element by which the several arts are evolved, if not out 

 of one another, at least in a definite order of sequence. Both of 

 these objections are fully met, and in addition each of the arts is 

 characterized by its own distinctive peculiarity, if we adopt the 

 following arrangement : 



!1. Dancing — rhythmic motion of the body. 

 2. Music — rhythmic motion of the voice. 

 3. Poetry — rhythmic motion of speech. 

 ( 1. Architecture — decorative form construction. 

 II. Arts of Form :< 2. Sculpture — representative form construction. 

 ( 3. Painting — imitative form construction. 

 A few words will assist us to see that this classification is a 

 scientific one. In distinguishing between the arts of movement 

 and the arts of form, we retain every advantage of Ve'ron's scheme 

 without a strained reference of the figures of the dance to the ear 

 instead of the eye and the muscular sense, and at the same time 

 do not obscure the close affiliation between dancing and music, 

 which most obviously exists. The revised grouping also specifies 

 the peculiar kind of movement and of form construction exempli- 

 fied by each art. We further recognize in architecture its begin- 

 ning as one of the useful arts, which, as mere form construction, 

 it does not surpass. But when decoration is added, or rather when 

 the decorative purpose pervades the entire plan and execution of 

 architectural form, then for the first it becomes a fine art. The 

 peculiarity of sculpture is, that it is representative form construc- 

 tion, endeavoring to copy literally, or to represent fully, the object 

 of the sculptor's work. In the earliest sculpture, as we have no 

 inconsiderable evidence to show, even color was employed, and 

 this in a truly representative way, reproducing the colors of the 

 parts represented. Painting is not strictly representative, but 

 imitative, striving to present on a flat surface, with only two 

 dimensions, objects which in reality occupy three dimensions of 

 space. By the arts of perspective and foreshortening this aim is 

 in a great degree accomplished, so that a result is produced which 



