from its own limitations, by which the arts are able, not indeed
to supply the place of each other, but reciprocally to lend each
other new forces."<1> It is by its success as representation
that the art of the burin and needle--Griffelkunst, as Klinger
names it--ought first to be judged. This is not saying that it
may not also possess beauty of form to a high degree,--only that
this beauty of form is not its characteristic excellence.

<1> W. Pater, _The Renaissance: Essay on Giorgione_.

In what consists the beauty of visual form? If this question
could be answered in a sentence our whole discussion of the
abstract formula for beauty would have been unnecessary. But
since we know what the elements of visual form must do to bring
about the aesthetic experience, it has been the aim of the
preceding pages to show how those elements must be determined
and related. The eye, the psychophysical organism, must be
favorably stimulated; these, and such colors, combinations,
lines as we have described, are fitted to do it. It must be
brought to repose; these, and such relations between lines and
colors as we have set forth, are fitted to do it, for reasons
we have given. It is to the eye and all that waits upon it
that the first and the last appeal of fine art must be made;
and in so far as the emotion or the idea belonging to a
picture or a statue waits upon the eye, in so far does it
enter into the characteristic excellence, that is, the beauty
of visual form.


B. SPACE COMPOSITION AMONG THE OLD MASTERS