THE PHILOSOPHY OF ART
BY
H. TAINE
PROFESSOR OF ÆSTHETICS AND OF THE HISTORY OF ART IN THEÉCOLE DES BEAUX-ARTS, PARIS.
TRANSLATED BY
JOHN DURAND
Second Edition, Thoroughly Revised by the Translator
NEW YORK
HOLT & WILLIAMS
1873
PUBLISHERS' NOTE.
The now famous name of Taine was first introduced to the Americanpublic by the issue, in 1865, of a small imported edition of thiswork. That edition has long been out of print here and in Europe. Thatthe book is now re-issued may be subject of special satisfaction tothose who already possess the Author's "Ideal in Art" "Art in theNetherlands" and "Art in Greece" as this work (now published in astyle uniform with others named) is properly the forerunner of themall; containing, as it does, the principles laid down in the Author'sfirst course of lectures, and constantly referred to in the latercourses which now form the books before alluded to.
In preparing this edition for the press, the translator, by bringingto bear the experience gained in the later works, has made it a greatimprovement on the previous edition.
PREFACE TO THE FIRST EDITION.
The translation herewith presented to the reader consists of a courseof Lectures delivered during the winter of 1864, before the Students ofArt of the École des Beaux Arts at Paris, by H. Taine, Professeurd'Esthétique et d' Histoire de l'Art in that institution.
These lectures, as a system of Æsthetics, consist of an application ofthe experimental method to art, in the same manner as it is appliedto the sciences. Whatever utility the system possesses is due to thisprinciple. The author undertakes to explain art by social influencesand other causes; humanity at different times and places, climate,and other conditions, furnish the facts on which the theory rests. Theartistic development of any age or people is made intelligible througha series of historical inductions terminating in a few inferentiallaws, constituting what the title of the book declares it to be—thephilosophy of art.
Such a system seems to possess many advantages. Among others, ittends to emancipate the student of art, as well as the amateur, frommetaphysical and visionary theories growing out of false theories andtraditional misconceptions; he is not misled by an exclusive adherenceto particular schools, masters, or epochs. It also tends to rendercriticism less capricious, and therefore less injurious; dictating noconventional standard of judgment, it promotes a spirit of charitytowards all works. As there is no attempt to do more than explain artaccording to natural laws, the reader must judge whether, like allsystems assuming to bring order out of confusion, this one fulfils itsmission.
Readers familiar with M. Taine's able and original work on Englishliterature (Histoire de la Littérature Anglaise) will recognizein the following pages the same theory applied to art as is thereinapplied to literature.
J. D.
LONDON, November 9, 1865.
PREFACE TO THE SECOND EDITION.
Since the publication of the first edition of the "Philosophy of Art"seven years ago, in London, its author has become deservedly popular,and especially in this country. His writings are sought for, read andtranslated both in England and on the continent of Europe, and it wouldbe but refining gold to say aught in his praise. Like every man ofgen