ABSTRACT
In past generations æsthetic intolerance generally took the form of insisting upon the importance in art of the “subject matter.” Since beauty was assumed to reside in objects, good art would consist in the skilful imitation of objects which possessed it and in the elimination of any defects—in the exact portrayal of the “ideal object.” Some men were more beautiful than others; a statue might be more beautiful than any. Some actions were more beautiful than others; the epic or heroic poem or tragedy represented great men doing great actions, perhaps greater than had ever been. Great painting was religious, historic, ideal painting—“the grand style”; genre and landscape were inferior; arabesque nowhere.
