ABSTRACT
§1. The way in which various sensuous presentations— colours, sounds, lines, shapes and objects—have become specially apt for æsthetic significance must get its explanation from physiology, and especially neurology, from biology, psychology, and especially child-psychology, from anthropology and the general history of culture. Clearly no student of any one of these sciences can give an informed opinion on the conclusions of the others, and nobody can be competent in them all. Consequently most of the work remains to be done; perhaps the most serious attempt has been that of the psychophysiological schools of Einfühlung or “Empathy” (inward sympathetic imitation) headed by Lipps in Germany and ably discussed by Mitchell in Structure and Growth of the Mind.
