The Critique of Judgement [89]
arts, or those for the expression of ideas in sensuous intuition (not by means of representations of mere imagination that are excited by words) are arts either of sensuous truth or of sensuous semblance. The first is called plastic art, the second painting. Both use figures in space for the expression of ideas: the former makes figures discernible to two senses, sight and touch (though, so far as the latter sense is concerned, without regard to beauty), the latter makes them so to the former sense alone. The aesthetic idea (archetype, original) is the fundamental basis of both in the imagination; but the figure which constitutes its expression (the ectype, the copy) is given either in its bodily extension (the way the object itself exists) or else in accordance with the picture which it forms of itself in the eye (according to its appearance when projected on a flat surface). Or, whatever the archetype is, either the reference to an actual end or only the semblance of one may be imposed upon reflection as its condition. To plastic art, as the first kind of formative fine art, belong sculpture and architecture. The first is that which presents concepts of things corporeally, as they might exist in nature (though as fine art it directs its attention to aesthetic finality). The second is the art of presenting concepts of things which are possible only through art, and the determining ground of whose form is not nature but an arbitrary end-and of presenting them both with a view to this purpose and yet, at the same time, with aesthetic finality. In architecture the chief point is a certain use of the artistic object to which, as the condition, the aesthetic ideas are limited. In sculpture the mere expression of aesthetic ideas is the main intention. Thus statues of men, gods, animals, etc., belong to sculpture; but temples, splendid buildings for public concourse, or even dwelling-houses, triumphal arches, columns, mausoleums, etc., erected as monuments, belong to architecture, and in fact all household furniture (the work of cabinetmakers, and so forth-things meant to be used) may be added to the list, on the ground that adaptation of the product to a particular use is the essential element in a work of architecture. On the other hand, a mere piece of sculpture, made simply to be looked at and intended to please on its own account, is, as a corporeal presentation, a mere imitation of nature, though one in which regard is paid to aesthetic ideas, and in which, therefore, sensuous truth should not go the length of losing the appearance of being an art and a product of the elective will. Painting, as the second kind of formative art, which presents the sensuous semblance in artful combination with ideas, I would divide into that of the beautiful Portrayal of nature, and that of the beautiful arrangement of its products. The first is painting proper, the second landscape gardening. For the first gives only the semblance of bodily extension; whereas the second, giving this, no doubt, according to its truth, gives only the semblance of utility and employment for ends other than the play of the imagination in the contemplation of its forms.* The latter consists in no more than decking out the ground with the same manifold variety (grasses, flowers, shrubs, and trees, and even water, hills, and dales) as that with which nature presents it to our view, only arranged differently and in obedience to certain ideas. The beautiful arrangement of corporeal things, however, is also a thing for the eye only, just like painting-the sense of touch can form no intuitable representation of such a form, In addition I would place under the head of painting, in the wide sense, the decoration of rooms by means of hangings, ornamental accessories, and all beautiful furniture the sole function of which is to be looked at; and in the same way the art of tasteful dressing (with rings, snuffboxes, etc.). For a parterre of various flowers, a room with a variety of ornaments (including even the ladies' attire), go to make at a festal gathering a sort