^{page 534 note 1} Including persons and events.

^{page 535 note 1} Exactly what these values are, and how they become expressed, is a long story, into which I cannot enter here. I hope to return to the subject shortly in a book.

^{page 537 note 1} No doubt we are all tired of the illustration. Yet sunsets do, in fact, appear to have stimulated real artists—sometimes!

^{page 538 note 1} Three Lectures on Æsthetic, p. 58 sq.

^{page 539 note 1} Limited popular opinion, of course.

^{page 539 note 2} Cf. also Alexander, , Art and the Material, pp. 10, 16, and 17Google Scholar

^{page 539 note 3} Ibid., p. 67 sq.

^{page 539 note 4} Ibid., p. 69.

^{page 539 note 5} Footnote, supra.

^{page 540 note 1} Æsthetic, Ainslie's translation, p. 10.

^{page 540 note 2} Translated by Ainslie under the title of The Essence of Æsthetic.

^{page 540 note 3} Op. cit., p. 40.

^{page 540 note 4} Ibid., p. 40.

^{page 540 note 5} Ibid., p. 43.

^{page 540 note 6} Ibid., p. 44.

^{page 540 note 7} Ibid., p. 49.

^{page 540 note 8} Ibid., p. 49.

^{page 540 note 9} Æsthetic, p. 51.

^{page 540 note 10} Ibid., p. 96.

^{page 541 note 1} Essence of Æsthetic, p. 45.

^{page 541 note 2} Rainer, A. C. A., “The Field of Æsthetics,” Mind, vol. xxxviii, No. 150, p. 165.Google Scholar

^{page 542 note 1} For the artist may stop to contemplate his work as far as it has gone.

^{page 543 note 1} Croce, , Æsthetic, pp. 8, 9.Google Scholar

^{page 543 note 2} See Alexander, , Art and the Material, p. 12 and passim.Google Scholar