No abstract

In a paper on “Beauty and Greatness in Art” discussed at a recent meeting of the Aristotelian Society, Professor Alexander says: “In Art there are two standards; there is the strictly æsthetic standard, Is the work beautiful or not; has it attained beauty? and there is the question, Is it great or small?… This contrast of beauty and greatness is the old contrast of form and subject-matter.” Here is offered a problem of capital importance and of age-long interest, but alongside of it there is a subsidiary and a much slighter question which has been comparatively little noticed and which may yet have bearing on the larger issue. This question is the relation of actual size, of size-in-itself, to the other factors in a work of art, and the reaction, if such there be, of such a size-factor upon the aesthetic whole.

Our memories are private and particular; when you and I share an experience our experience is yet in the very moment of sharing different for you and for me, and our two memories of an event in the past are still more disparate. For memories are shaped and constrained by the deep-lying organic stress of what we have lived through, of our actual living, in the interval between then and now. A memory follows the solitary track of our individual experience, and, like the particle in modern Physical theory, is changed in and by the route it has traced.

The experience of each one of us is individual, private and particular, and in its immediacy is incommunicable. Images of all sorts, sense factors, figments of the imagination, mental comments and judgments, all these impressions, some persistent, some fleeting, follow one another in endless passage through the consciousness.