THIS little book, like the great branch of mental science to which it is an introduction, makes no attempt to "form the taste" of the public and still less to direct the doings of the artist. It deals not with _ought_ but with _is,_ leaving to Criticism the inference from the latter to the former. It does not pretend to tell how things can be made beautiful or even how we can recognise that things _are_ beautiful. It takes Beauty as already existing and enjoyed, and seeks to analyse and account for Beauty's existence and enjoyment. More strictly speaking, it analyses and accounts for Beauty not inasmuch as existing in certain objects and processes, but rather as calling forth (and being call…
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