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74.
4 Kant's Critique of Judgment, J. H. Bernard, tr. (London, 1931), 88-89.
5 The Introduction to Hegel's Philosophy of Fine Art, Bernard Bosanquet, tr.
(London, 1886),67. Cpo Walter T. Stace, The Meaning of Beauty (London,
1929), 41.
tl The Introduction to Hegel's Philosophy of Fine Art, 16. Cpo pp. 72-78,
133-37.
7 It is true that Croce has protested: "Ce qu'on demontre comme incondliable
avec Ie principe de la pure intuition, ce n'est pas l'universalite, mais la valeur
intellectualiste et transcendante donnee dans l'art al'universalite, sous la forme
de l'allegorie ou du symbole." "Le Caractere de Totalite de l'Expression
Artistique," in Breviaire d'Esthetique, Georges Bourgin, tr. (Paris, 1923), 170.
But the main drift of Croce's aesthetic, in being against conceptualization, is
radically against the universaL
8 Henri Bergson, Laughter, An Essay on the Meaning of the Comic (New
York, 1928),161-62.
9 Roger in his Introduction to Reynolds' Third Discourse argues that the
species presented in painting are not those of the natural, but those of the
social world, as king, knight, beggar. Discourses, Roger Fry, ed. (London.
1905), 46. And a modern critic of sculpture, R. H. Wilenski, offers what is
'perhaps the last retreat of the doctrine of universals in visual art: not man,