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Lettre, carte postale, photo, etc. (correspondance)&#13;
Photographie, diapositive, etc. (iconographie)&#13;
Passeport, carte d'identité, répertoire, agenda, etc. (dossier biographique)&#13;
Journal, magazine, revue, etc. (presse)</description>
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Papier, carnet, feuillet&#13;
Carte plastifiée (dossier biographique), négatif, etc. (iconographie)&#13;
Autre support : enregistrement sonore, vidéo, etc.</description>
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Inédit.&#13;
Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
Indiquer volume, tome ou collection si nécessaire….&#13;
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Indiquer où est hébergé le document et le nom du fonds, avec l’adresse précise si possible.</description>
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Hormis la majuscule à la première lettre, ne pas utiliser la majuscule.&#13;
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Si l'identification d'un éventuel surnom ou pseudonyme n'a pas été possible, on l'indiquera dans le champ DC « Description »</description>
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                    <text>Présence du timbre à sec (adresse Il Palmerino, San Gervasio, Florence)&#13;
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Indiquer l'auteur suivi de la date de la transcription (format français &amp; entre parenthèse).&#13;
Format : Nom, Prénom (date) &#13;
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                    <text>Le 6 janvier [1925]&lt;br /&gt;Il Palmerino &lt;br /&gt;San Gervasio &lt;br /&gt;Florence&lt;br /&gt;25 = 91 R6&#13;
&lt;div style="text-align: justify;"&gt;Chère Madame Noufflard, Vous n’ignorez sans doute pas que notre amie Mme Duclaux voudrait que vous vissiez son portrait fait par Sargent il y a … oh bien des années. Cela me procurerait le plaisir de faire votre connaissance, la vôtre et celle de M. Noufflard, quoiqu’il me semble déjà vous connaître à travers Mme Duclaux et les Halévy. Le plus simple serait si vous veniez déjeuner chez moi tous les deux, Lundi ou Mardi à votre choix. Le tramway N° 7 partant du Duomo (et préférablement à son passage devant le Bottegine une minute ou deux plus tôt) à midi vingt vous amènera à l’hôtel Le Lune, d’où vous trouverez facilement le chemin descendant vers ma maison. Un pin parasol marque ma grille, que vous ouvrirez sans plus. Veuillez me téléphoner si cette proposition est pour vous plaire, car la poste met trop longtemps et je vais garder [les deux jours] pour vous. Yours truly V. Paget&lt;/div&gt;</text>
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                      <text>&lt;div style="text-align: justify;"&gt;Prise de rendez-vous pour une &lt;a href="https://vimeo.com/225726852"&gt;première rencontre de Vernon Lee et des peintres Berthe et André Noufflard&lt;/a&gt;. L'objet de la visite est une invitation à voir le portrait de leur amie commune, Mary Duclaux par John Singer Sargent.&lt;/div&gt;</text>
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Lettre, carte postale, photo, etc. (correspondance)&#13;
Photographie, diapositive, etc. (iconographie)&#13;
Passeport, carte d'identité, répertoire, agenda, etc. (dossier biographique)&#13;
Journal, magazine, revue, etc. (presse)</description>
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Carte plastifiée (dossier biographique), négatif, etc. (iconographie)&#13;
Autre support : enregistrement sonore, vidéo, etc.</description>
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&#13;
Une entrée par édition</description>
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                    <text>4 juillet XXV&lt;br /&gt;Cher Monsieur et chère Mme Noufflard,&lt;br /&gt;Quand je suis revenue à la surface du bateau après le plongeon à la poursuite de mes valises, vous aviez disparu. Je suis restée à regarder les jolies maisons du port comme je reste toujours à regarder en dedans de moi-même, l'image si nette de Fresnay, de ma jolie chambre aux boiseries et aux stucs, l'image délicieuse des journées que je viens de passer &lt;em&gt;avec&lt;/em&gt;, autant que &lt;em&gt;chez&lt;/em&gt;, vous... Vous savez que je vous en suis reconnaissante.&lt;br /&gt;Les deux petits volumes traduits du Russe sont chargés de vous le rappeler ; et avec eux un autre petit volume, celui-ci de moi, qui même s'il ne vous intéresse point &lt;span style="text-decoration: line-through;"&gt;pour&lt;/span&gt;par le sujet vous trouvera indulgents pour l'auteur.&lt;br /&gt;Laissez-moi vous dire combien j'ai eu de joie à découvrir que nous avions les mêmes sentiments vis à vis [vis-à-vis] de l'Italie ; j'aurais trouvé assez naturel qu'il en fut [fût] autrement, puisque je devinais quel devait être le point de vue de Mme Noufflard mère, exposée comme elle l'a été aux impressions de 1920-24 et aux idées de ses amis florentins. Vous avez appris que le Dr Bono a été nommé gouverneur de Tripoli ; belle manière de faire oublier à la population arabe les brutalités de la conquête de 1911. Aussi que le &lt;em&gt;Corriere&lt;/em&gt; a été mis en demeure &lt;span style="text-decoration: line-through;"&gt;de&lt;/span&gt;d'être supprimé entièrement ou de se taire complètement.&lt;br /&gt;J'apprends que les journaux anglais, à commencer par le &lt;em&gt;Times&lt;/em&gt;, se sont mis en émoi pour Salvemini. Je vais voir la femme de Trevelyan qui me dira s'il existe déjà une traduction anglaise du numéro de &lt;em&gt;Non Mollare&lt;/em&gt; ou s'il est utile que j'en fasse une : elle gagnera pour avoir lu celle de M. Noufflard. Dans tous les cas cette traduction française m'a donné une espèce de joie qu'on ne connait plus depuis l'affaire Dreyfus.&lt;br /&gt;La mer a été magnifique et la traversée très courte. &lt;em&gt;Vice versa &lt;/em&gt;poi les souffrances à la douane de Newhaven dépassent tout ce que p &lt;span style="text-decoration: line-through;"&gt;peuvent&lt;/span&gt; peut donner celle de Douvres ou de Calais : le libre échange presque séculaire fait que les brutalités &lt;span style="text-decoration: line-through;"&gt;et&lt;/span&gt; idiotes des douaniers improvisés dépassent tout ce qu'on peut rêver. Je suis rentrée dans mon pays furieuse et sentant que Mussolini s'y trouverait presque à son aise, du moins en ce qui concerne les valises de ses sujets.&lt;br /&gt;J'espère que Aksakof [Aksakoff] va vous faire plaisir. Il y a &amp;lt;je crois&amp;gt; à la fin du second petit volume une jolie version russe de la Belle et la Bête qui fera plaisir à ces demoiselles. Rappelez moi [rappelez-moi] au bon souvenit de mes (oserais-je les nommer ainsi ?) petites amies, &lt;span style="text-decoration: line-through;"&gt;et&lt;/span&gt;ainsi qu'à celui de Mme Parodi, de votre aimable gouvernante, des deux Jacquemards &lt;em&gt;et du Chat&lt;/em&gt; que je souhaite convertir par l'exemple de ma mansuétude... Et au revoir mes chers amis, et, de nouveau, merci&lt;br /&gt;V Paget</text>
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Envoi de deux volumes d'Aksakoff et d'un de ses propres livres.&#13;
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                    <text>&lt;div style="text-align: justify;"&gt;24 Sloane Court. London S.W.III&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;Le 26 juillet XXV&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;Chère Madame Noufflard (non pas pour exclure M. Noufflard, dont &lt;em&gt;je sens&lt;/em&gt; si vivement l'amitié bien italienne ; mais parce que je tiens à vous dire &lt;span style="text-decoration: line-through;"&gt;dr&lt;/span&gt; sans partage combien la pensée d'avoir dans ma maison un coin de la vôtre, et fait par vous pour moi – me met dans la joie. Je n'osais pas supposer que c'était là la destination de ce petit tableau dont la nouvelle me réjouissait parce que l'intérieur me semblait se prêter si particulièrement à votre talent – surtout un intérieur aussi intérieur que celui-là...&lt;br /&gt;Cette lettre que je vais tâcher d'écrire – en français malgré les fautes et les &lt;em&gt;spropositi&lt;/em&gt; parce que je pense à vous en français et que l'anglais &lt;span style="text-decoration: line-through;"&gt;me n'en&lt;/span&gt; apporterait un élément inusité, une gêne pour mon esprit. Cette lettre, chère amie, est bien &lt;em&gt;pour vous bien personnelement &lt;/em&gt;[personnellement], parce que la vôtre me fait sentir que &lt;span style="text-decoration: line-through;"&gt;au milieu&lt;/span&gt; mon petit livre est venu&lt;span style="text-decoration: line-through;"&gt;,&lt;/span&gt; vous faire de la peine au moment où votre amitié si inespérée m'apporte tant de bonheur.&lt;br /&gt;Mon livre. Mais est-ce bien le petit livre &lt;span style="text-decoration: line-through;"&gt;lui&lt;/span&gt; en lui même [lui-même] ? &lt;span style="text-decoration: line-through;"&gt;Qu'y&lt;/span&gt; Lorsque &lt;span style="text-decoration: line-through;"&gt;j'essais&lt;/span&gt; j'essaie de me le rappeler, il ne se présente à ma mémoire qu'un seul point, une seule phrase qui pût vous froisser – et encore ! – Celle où je fais allusion à &lt;span style="text-decoration: line-through;"&gt;la&lt;/span&gt; l'obsession de sécurité qui me semble apporter dans la politique de votre pays (du moins telle que vos gouvernants et vos journaux nous la font connaître) des procédés et des attitudes propres &lt;span style="text-decoration: line-through;"&gt;à&lt;/span&gt; au contraire à compromettre cette sécurité même et à préparer pour la France &lt;span style="text-decoration: line-through;"&gt;et&lt;/span&gt; la civilisation &lt;em&gt;et la liberté&lt;/em&gt; de l'Europe entière des dangers beaucoup pires que ceux auxquels &lt;strong&gt;&lt;em&gt;tous&lt;/em&gt;&lt;/strong&gt; nous avons non pas échappé mais déjà été immolés, &lt;em&gt;car tous, nous sommes des vaincus dans ce qui importe le plus&lt;/em&gt;, &lt;span style="text-decoration: line-through;"&gt;n&lt;/span&gt; la sécurité spirituelle autant que matérielle, la vie de progrès ; tous &lt;span style="text-decoration: line-through;"&gt;de&lt;/span&gt; enchaînés à la guerre que nous préparons parce que nous la craignons.&lt;br /&gt;Voilà à quoi je fais allusion dans mon petit livre. Et que &lt;span style="text-decoration: line-through;"&gt;cela&lt;/span&gt; ce passage (vous le multipliez en parlant de "plusieurs endroits") vous aie [ait] causé tant de peine, cela semble indiquer que cette phrase (si subordonnée à ma thèse générale) a dû éveiller en vous le souvenir de ce qu'on a pu vous dire – les Halévy par exemple et même Mary Duclaux – au sujet de mon attitude pendant la guerre. Or tout ce qu'on a pu vous dire là-dessus, (oublié depuis sans doute mais revenu à votre esprit en lisant mon petit livre) tout cela, chère nouvelle amie, n'est que la simple vérité &lt;em&gt;et beaucoup moins que la vérité&lt;/em&gt;, parce que mes idées dépassaient, je crois, la compréhension de ceux qui en étaient les plus choqués, de même que la pensée du libre penseur est beaucoup plus hostile à celle du croyant que ne se le figure celui-ci.&lt;br /&gt;Ces idées – je parle des miennes au sujet de la guerre – ont fini par rallier plusieurs de mes amis anglais qui s'en scandalisaient le plus, et à mesure &lt;span style="text-decoration: line-through;"&gt;que&lt;/span&gt; que nous laissons derrière nous ces horribles années, elles finissent par ne plus offusquer mes compatriotes. &lt;span style="text-decoration: line-through;"&gt;Mais&lt;/span&gt; Il en est nécessairement différent [différemment] chez vous, car vous avez eu la guerre jusqu'à vos foyers tandis que nous ne l'avons eue que dans les cœurs dévastés ; (il en sera &lt;span style="text-decoration: line-through;"&gt;(&lt;/span&gt;hélas différent [différemment] en Allemagne, où la revanche sournoise appelée ironiquement Paix de Versailles avec ses suites &lt;span style="text-decoration: line-through;"&gt;qui se continue&lt;/span&gt; &lt;span style="text-decoration: line-through;"&gt;et&lt;/span&gt; se poursuit toujours et maintient la mentalité de la guerre).&lt;br /&gt;De cela je m'en rends compte très exactement. Et c'est pour cette raison que, de même que &lt;span style="text-decoration: line-through;"&gt;pendant&lt;/span&gt; de 1914 à 1918, je laissais [à] mes amis anglais la liberté de suspendre, &lt;span style="text-decoration: line-through;"&gt;tou&lt;/span&gt; s'ils le voulaient, tous leurs rapports avec moi, j'ai hésité à me rapprocher de mes amis français et je n'ai jamais essayé de faire de nouvelles relations dans votre pays. C'est même cela qui a ajouté à la douceur de l'amitiée [amitié] que m'offre &lt;span style="text-decoration: line-through;"&gt;la&lt;/span&gt; Fresnay : c'est pour &lt;span style="text-decoration: line-through;"&gt;la&lt;/span&gt;une rentrée dans la France d'avant guerre [avant-guerre], n'est ce-pas [n'est-ce pas] ?&lt;br /&gt;Mais cette rentrée, je m'en aperçois au chagrin exprimé par votre lettre, il ne faut pas que je la fasse par l'accident de votre ignorance de mes idées et de mes sentiments. Si je vous ai fait de la peine et si je vous ai causé une douloureuse surprise, &lt;span style="text-decoration: line-through;"&gt;il fau&lt;/span&gt; la loyauté, j'oserais dire la &lt;em&gt;sécurité&lt;/em&gt;) de nos rapports exige que je vous en fasse davantage. Si vous voulez de moi, que ce soit en pleine connaissance de cause. J'estime &lt;span style="text-decoration: line-through;"&gt;inutile et&lt;/span&gt; dangereux pour l'amitiée [amitié] et inutile pour l'entendement réciproque toute discussion &lt;em&gt;verbale&lt;/em&gt; ; je m'en suis abstenue avec mes amis anglais, comme je m'en abstiens avec mes (hélas trop nombreux !) amis fascistes. Mais l'avantage d'être écrivain, même sans lecteurs, c'est de pouvoir &lt;span style="text-decoration: line-through;"&gt;me&lt;/span&gt; éviter tout malentendu et toute déloyauté en mettant sous les yeux des autres ce qu'on &lt;span style="text-decoration: line-through;"&gt;a&lt;/span&gt; pense &lt;span style="text-decoration: line-through;"&gt;en&lt;/span&gt; sous forme de livre. Vous voyez bien que mon petit Protée avec sa seule phrase &lt;em&gt;anti-française&lt;/em&gt; a pu vous révéler &lt;span style="text-decoration: line-through;"&gt;des cho&lt;/span&gt; sur moi des choses peut-être connues mais oubliées. Je vais compléter le procès que vous me ferez en vous envoyant le livre que j'ai fait sur la guerre et pendant la guerre. Il n'y a rien à y &lt;span style="text-decoration: line-through;"&gt;ajs&lt;/span&gt; retrancher ni à y rajouter, si ce n'est que &lt;span style="text-decoration: line-through;"&gt;je&lt;/span&gt; &lt;span style="text-decoration: line-through;"&gt;les&lt;/span&gt; mes pires craintes ont été dépassées.&lt;br /&gt;Je ne vous demande pas de tout lire, c'est long, c'est abstrait, c'est fait par acquit de conscience pour moi-même. Mais il suffira de feuilleter pour vous rendre compte et pour éloigner toute possibilité de (pardonnez moi [pardonnez-moi] la grossièreté de la pensée !) de m'être faufilée indûment dans votre amitié.&lt;br /&gt;J'espère que celle-ci se remettra du choc. Sinon à présent, du moins avant l'été prochain où je voudrais frapper de nouveau à votre porte. Pour le moment ne m'écrivez &lt;em&gt;pas au sujet de ce nouveau livre&lt;/em&gt; ; s'il vous déplait infinement, essayez de l'oublier et &lt;span style="text-decoration: line-through;"&gt;n&lt;/span&gt; pensez, dans le courant de l'année, qu'aux choses qui nous unissent et au bonheur que votre promesse d'amitié, &lt;span style="text-decoration: line-through;"&gt;x&lt;/span&gt; &lt;span style="text-decoration: line-through;"&gt;à&lt;/span&gt; de vous et de votre mari, a mis dans ma vie&lt;br /&gt;Affectueusement à vous&lt;br /&gt;V. P.&lt;br /&gt;&lt;span style="text-decoration: line-through;"&gt;J'ai&lt;/span&gt; Je redoute beaucoup pour Salvemini cette soi-disant liberté provisoire, à moins qu'il ne puisse en profiter pour passer la frontière. &lt;span style="text-decoration: line-through;"&gt;Mais&lt;/span&gt; Et j'estime qu'à moins de cette éventualité peu probable, il sera sage de parler de lui le moins possible à l'étranger. Ses amis anglais ne lui ont &lt;span style="text-decoration: line-through;"&gt;que&lt;/span&gt; guère fait de bien. &lt;em&gt;Mais j'aime mieux que Fernande, déjà si désemparée ne &lt;span style="text-decoration: line-through;"&gt;connut&lt;/span&gt; connaisse pas mes craintes&lt;/em&gt;, n'est-ce pas ? Non, je ne suis pas pressée de rentrer sous cet abominable régime. Mais &lt;span style="text-decoration: line-through;"&gt;que&lt;/span&gt; de petites (et je crois peu sérieuses) crises cardiaques me font désirer de rentrer chez mes domestiques et mon médecin dès que l'automne sera venu.&lt;/div&gt;</text>
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&lt;p&gt;In the often quoted but little read &lt;del&gt;study&lt;/del&gt; essay entitled "Beauty and Ugliness" which I published in collaboration with C.A.T. in the Contemporary Review for Oct–Nov  1897, we put forward as explanation of ˘aesthetic˘ preferences and aversions (&lt;del&gt;in the field of visible form, &lt;/del&gt;the&lt;del&gt; hypothetical&lt;/del&gt; probable existence in &lt;del&gt;the aperception&lt;/del&gt; ˘all˘ &lt;del&gt;&amp;amp;&lt;/del&gt; visual form aperception of a &lt;del&gt;˘gro˘&lt;/del&gt; &lt;del&gt;factor&lt;/del&gt; ˘factor˘ which I subsequently (X ˘leave space for short footnote˘) identified &lt;del&gt;with partly&lt;/del&gt; &lt;del&gt;wi&lt;/del&gt; mainly with the phenomenon described by&lt;/p&gt;
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&lt;p&gt;Prof. Lipps as a "ästhetische Einfühlung" ˘ästhetische Einfühlung˘ while recognising that &lt;del&gt;this&lt;/del&gt; ˘this˘ &lt;del&gt;my&lt;/del&gt; supposed factor in aesthetics also have considerable analogy to what Prof. Groos has called &lt;del&gt;aesth&lt;/del&gt; "Innere Nachahung"  and, in his recent admirable paper  "ästhetisches Miterleben".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;The comparison of my own views with those of Herrn &lt;del&gt;Prof&lt;/del&gt; Lipps and Groos and of other, less &lt;del&gt;i&lt;/del&gt; epochmaking aestheticians; &lt;del&gt;xx&lt;/del&gt; &lt;del&gt;added&lt;/del&gt; and also fourteen additional years of my own &lt;del&gt;aesth&lt;/del&gt; observations &amp;amp; experiments in the field&lt;/p&gt;
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&lt;p&gt;of aesthetics, -- all this has &lt;del&gt;brought ab altered&lt;/del&gt; brought some alteration in my &lt;del&gt;views&lt;/del&gt; attitude on these subjects. And it is this alteration I propose to explain, &lt;del&gt;merely bec&lt;/del&gt; not from any wish to justify myself, but because &lt;del&gt;it will make such an expl&lt;/del&gt; &lt;del&gt;the understand&lt;/del&gt; &lt;del&gt;this&lt;/del&gt; this explanation may save younger students some of the confusion of thought which I have gradually cleared up for myself : the confusion, principally, between 1&lt;hi rend="sup"&gt;st&lt;/hi&gt; the &lt;del&gt;hypothesis&lt;/del&gt; explanation&lt;/p&gt;
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&lt;p&gt;of aesthetic preference &lt;del&gt;through&lt;/del&gt; ˘by˘ &lt;del&gt;the presence of motor&lt;/del&gt; a &lt;del&gt;supposed&lt;/del&gt; ˘xxx˘ interpretation of visible shapes in terms of human dynamical experience, which is &lt;del&gt;what&lt;/del&gt; ˘all˘ I accept of Professor &lt;del&gt;Lipps&lt;/del&gt; Lipps’ &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;. &lt;del&gt;and&lt;/del&gt; ˘2&lt;hi rend="sup"&gt;dly&lt;/hi&gt;/˘ the explanation of this &lt;del&gt;interpretation&lt;/del&gt; anthropomorphic habit by a more or less localised ˘and˘ &lt;del&gt;objective&lt;/del&gt; &lt;del&gt;muscle&lt;/del&gt; &lt;del&gt;muscular&lt;/del&gt; more or less externalised &lt;del&gt;"imitation&lt;/del&gt; act of mimicry; and &lt;del&gt;finally&lt;/del&gt; ˘3&lt;hi rend="sup"&gt;dly&lt;/hi&gt;˘ / the explanation of the &lt;del&gt;"pleasure-pain"&lt;/del&gt; &lt;del&gt;q&lt;/del&gt; &lt;del&gt;or rather satisf&lt;/del&gt; pleasure-pain (&lt;del&gt;or really more correctly&lt;/del&gt; satisfaction= dissatisfaction&lt;del&gt;)&lt;/del&gt; quality&lt;/p&gt;
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&lt;p&gt;and the emotional resonance of aesthetic &lt;del&gt;preference and aversion&lt;/del&gt; aperception by a supposed participation of those great organic processes, cardiac, respiratory, equilibratory and locomotor, which the so called "Lange-James"  hypothesis invokes as the chief factors in everything which we call "mood" or "emotion".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;These three suppositions were confused in my mind (if not in that of the collaborator who furnished me with ˘the˘ experimental and &lt;del&gt;more&lt;/del&gt; less abstract portion of &lt;del&gt;m&lt;/del&gt; the essay)&lt;/p&gt;
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&lt;p&gt;at the time of my collaboration in "Beauty and Ugliness". &lt;del&gt;They remain confused&lt;/del&gt; &lt;del&gt;Th&lt;/del&gt; They are closely connected ˘together˘; but they are independent of one another; and if I succeed in making younger students hold them asunder and study them separatly, I shall have done much for the progress of aesthetics.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;I shall examine,&lt;/del&gt;in the &lt;del&gt;first&lt;/del&gt; following pages, ˘I shall examine˘ in what &lt;del&gt;the&lt;/del&gt; &lt;del&gt;˘various˘&lt;/del&gt; relation &lt;del&gt;of&lt;/del&gt; the three popositions may &lt;del&gt;ultimately&lt;/del&gt; be found to be when &lt;del&gt;addition&lt;/del&gt; &lt;del&gt;so&lt;/del&gt; the analysis and especially the &lt;del&gt;do&lt;/del&gt; personal&lt;/p&gt;
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&lt;p&gt;observation of &lt;del&gt;actual&lt;/del&gt; &lt;del&gt;aesthetic&lt;/del&gt; ˘subjective &amp;amp; objective˘ facts shall have taken the place of the dissection of mere definitions and abstractions which has hitherto &lt;del&gt;engaged the&lt;/del&gt; engaged so-called aestheticians. I shall point out what kind of evidence is &lt;del&gt;possible&lt;/del&gt; requisite and procurable for the &lt;del&gt;acceptance of&lt;/del&gt; final acceptance of any of these three propositions ; and, while &lt;del&gt;surmising that&lt;/del&gt; attempting to put a little order into the problems of a future science of  aesthetics, I shall, I trust, bring home to the student the&lt;/p&gt;
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&lt;p&gt;immense complexity, the immense &lt;del&gt;(perhaps!)&lt;/del&gt; &lt;del&gt;irreducible&lt;/del&gt; &lt;del&gt;obscurity&lt;/del&gt; immense (perhaps irreducible!) obscurity of the vast intermeshed phenomena which we have &lt;del&gt;all&lt;/del&gt; ˘each˘ of us,˘aestheticians˘ great and small ˘&lt;del&gt;aestheticians&lt;/del&gt;˘, attempted  to explain by some &lt;del&gt;tiny little hypothesis&lt;/del&gt; tiny tidy little "all embracing" principle of our own.&lt;/p&gt;
&lt;p&gt;The following pages will therefore deal, in as undogmatic a manner as possible with the &lt;del&gt;reasons&lt;/del&gt; ˘facts˘ in favour of 1°/ Lippsian Einfühlung&lt;/p&gt;
&lt;p&gt;2°/ Innere Nachahmung&lt;/p&gt;
&lt;p&gt;and 3°/ of the application to&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;aesthetics&lt;/del&gt;˘aesthetic phenomena˘ of the  Lange-James hypothesis.&lt;/p&gt;
&lt;p&gt;Before &lt;del&gt;proce&lt;/del&gt; doing this, and during the whole course of doing it, I shall, however, be employed in &lt;del&gt;mak&lt;/del&gt; putting a little order into &lt;del&gt;our&lt;/del&gt; all our thinking &lt;del&gt;ord&lt;/del&gt; about the various &lt;del&gt;fa&lt;/del&gt; sides of the aesthetic problem, and this, by insisting upon the recognition and temporary isolation of what I find it convenient to &lt;del&gt;allude to&lt;/del&gt; call the central problem of aesthetics.&lt;/p&gt;
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&lt;p rend="center"&gt;II&lt;/p&gt;
&lt;p&gt;And in &lt;del&gt;th&lt;/del&gt; this &lt;del&gt;part of my task&lt;/del&gt; I can best explain myself by reference to &lt;del&gt;my own&lt;/del&gt; my own work and to the evolution of my own ideas.&lt;/p&gt;
&lt;p&gt;In that, as I said, often quoted but little understood essay called &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, what was least understood by our readers and not at all by our critics, was the fact of the limitation of our enquiries to &lt;del&gt;this&lt;/del&gt; ˘such a˘ &lt;hi rend="u"&gt;central a problem of aesthetics&lt;/hi&gt;. &lt;del&gt;We were &lt;/del&gt;My collaborator and I&lt;/p&gt;
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&lt;p&gt;were not investigating into the nature, &lt;del&gt;the ret&lt;/del&gt; &lt;del&gt;functions&lt;/del&gt; of the work of art as a whole, with its representative, evocative, dramatic, &lt;del&gt;human&lt;/del&gt; (&lt;hi rend="u"&gt;so to say novelist’s emotional&lt;/hi&gt;) functions, its power of imitating, recording, suggesting objects and events belonging to the real ˘external˘world or the real human vicissitudes outside itself.&lt;/p&gt;
&lt;p&gt;We were trying to account for the interest and powers of one factor only in the work of art’s &lt;del&gt;(or n&lt;/del&gt; effects : the factor of mere visible &lt;del&gt;form&lt;/del&gt; shape (or "form"); &lt;del&gt;by&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt; the visual arts convey which &lt;del&gt;the arts&lt;/del&gt; &lt;del&gt;visual arts&lt;/del&gt; &lt;del&gt;the im&lt;/del&gt; all imitation, representation, suggestion, &lt;del&gt;in&lt;/del&gt; expression and general &lt;del&gt;˘human˘&lt;/del&gt; emotional stimulation; and which ˘shape or form˘ can please and displease, fascinate or repel, entirely apart from any such imitation, representation, suggestion etc and even not unfrequently in direct contradiction thereunto.&lt;/p&gt;
&lt;p&gt;This &lt;hi rend="u"&gt;problem of&lt;/hi&gt; &lt;del&gt;form&lt;/del&gt;&lt;hi rend="u"&gt; visible form&lt;/hi&gt; is not the problem to which Hildebrand &amp;amp; his disciple Cornelius have attached that name, &lt;del&gt;confusing&lt;/del&gt; &lt;del&gt;˘xxx˘&lt;/del&gt; ˘meaning˘ as they do &lt;hi rend="u"&gt;the adequate suggestion&lt;/hi&gt; &lt;del&gt;of&lt;/del&gt;&lt;hi rend="u"&gt; by means of visible forms of properties &amp;amp; groups of properties not&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;˘really shown or˘ neccessarily visible; in other words the way to employ ˘artistic˘ form in order to suggest something beyond itself.&lt;/p&gt;
&lt;p&gt;The problem we dealt with in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;  was, on the contrary, that of the &lt;hi rend="u"&gt;intrinsic&lt;/hi&gt; &lt;del&gt;attractiveness&lt;/del&gt;&lt;hi rend="u"&gt; satisfactoriness&lt;/hi&gt; of visible form as such, and the pleasure (or the reverse) which &lt;del&gt;we&lt;/del&gt; its &lt;del&gt;mere&lt;/del&gt; contemplation can awaken.&lt;/p&gt;
&lt;p&gt;In fact, we were dealing with the same problem which &lt;del&gt;h&lt;/del&gt; &lt;del&gt;is&lt;/del&gt; &lt;del&gt;for con&lt;/del&gt; &lt;del&gt;has&lt;/del&gt; been ˘almost˘ exclusively treated (and no where else in so masterly a manner) in Lipps’ &lt;hi rend="u"&gt;Raum Aesthetik&lt;/hi&gt; and those portions of his other works&lt;/p&gt;
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&lt;p&gt;in which he ˘Prof Lipps˘ is satisfied with amplifying and applying the principles &lt;del&gt;s&lt;/del&gt; put forward in the &lt;hi rend="u"&gt;Raum Aesthetik&lt;/hi&gt;. And I shall call this &lt;hi rend="u"&gt;the central problem of aesthetics&lt;/hi&gt; because the other aesthetical problems ramify from or lead up to it, complicating and obscuring it in every way, but leaving it, whenever we can put them aside, as an essential core of all questions concerning the satisfaction and dissatisfaction produced by visible shapes independently of the probably chemico-physiological action of colour.&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;In page&lt;/del&gt;&lt;del&gt;page 6&lt;/del&gt; The second part of &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; contains at page 682 of the Nov ˘1897˘ number of the Contemporary Review, the following statement &amp;amp; &lt;del&gt;among a great number of&lt;/del&gt; which I select for brevity from a great number of similar ones :&lt;/p&gt;
&lt;p&gt;"We follow lines by muscular adjustments more considerable than those of the eye and these muscular adjustments result in a sense of direction and velocity in ourselves and a &lt;hi rend="u"&gt;consequent attribution of direction and velocity to the lines thus perceived."&lt;/hi&gt;&lt;/p&gt;
&lt;p&gt;&lt;hi rend="color_ffffff"&gt;I have underlined &lt;/hi&gt;&lt;del&gt;p&lt;/del&gt;the second part of this sentence&lt;/p&gt;
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&lt;p&gt;because it contains the essence of the theory of Ästhetische Einfühlung as set forth in Lipps’ Raum Ästhetik, while the first part of the sentence &lt;del&gt;is&lt;/del&gt; contains &lt;del&gt;an explanation&lt;/del&gt; a hypothetical explanation of that "attribution of direction and velocity to the lines thus perceived". &lt;del&gt;Had I&lt;/del&gt; If the magnificient analysis of Lipps had been known to me at the time of my collaboration in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;  [the &lt;hi rend="u"&gt;Raumaesthetik&lt;/hi&gt; was published in [&lt;del&gt;in&lt;/del&gt; ˘18˘] and came to my knowledge from a quotation in Karl Groos’s &lt;hi rend="u"&gt;Spiele der Menschen&lt;/hi&gt; published in 189...] &lt;del&gt;I&lt;/del&gt; &lt;del&gt;it is quite&lt;/del&gt; I should &lt;/p&gt;
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&lt;p&gt;not ˘indeed˘,&lt;/p&gt;
&lt;p&gt;as Professor Lipps expects of his disciples, have &lt;del&gt;abandonned the hypothesis&lt;/del&gt; &lt;del&gt;xxxx&lt;/del&gt; &lt;del&gt;all&lt;/del&gt; ˘accepted this˘ thought of explaining this attribution of direction and velocity, and, of course of ˘human˘ energy and all its moods, to lines and motionless shapes ˘as an ultimate &lt;del&gt;as a&lt;/del&gt; psychological fact requiring no explanation˘.  But I should have recognized, as I now recognize that this phenomenon, which &lt;del&gt;I&lt;/del&gt; brevity obliges me to &lt;del&gt;all&lt;/del&gt; name &lt;del&gt;call&lt;/del&gt; ˘designate˘ by Professor Lipps most misleading &lt;del&gt;express&lt;/del&gt; &lt;del&gt;x&lt;/del&gt; title of "Aesthetische Einfühlung" does not require &lt;del&gt;for its explanation or&lt;/del&gt; either for the &lt;del&gt;ver&lt;/del&gt; &lt;del&gt;explan&lt;/del&gt; verification&lt;/p&gt;
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&lt;p&gt;or for the explanation of its existence, any such &lt;del&gt;"alteration in our respiratory"&lt;/del&gt; "muscular adjustments" as the observations of my collaborator and, in some measure, my own &lt;del&gt;int&lt;/del&gt; selfobservation, had led us to connect with it.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;The phenomenon of  Einfühlung (as connected with visible lines, &lt;del&gt;plas&lt;/del&gt; and shapes) &lt;del&gt;requires&lt;/del&gt; can be demonstrated by such purely psychological facts as Lipps himself has accumulated, with a &lt;del&gt;geniality&lt;/del&gt; magnificent masterliness in the analysis of the Raum Aesthetik, and cognate parts of his other works. &lt;del&gt;And the phi&lt;/del&gt; and it&lt;/p&gt;
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&lt;p&gt;can be explained, without even Lipps’s decidedly metaphysical phraseology about projection of the ego or other &lt;del&gt;mis&lt;/del&gt; animistic &lt;del&gt;notions&lt;/del&gt; conceptions &lt;del&gt;dra&lt;/del&gt; due to that misleading expression "sich Einfühlen" --by reference to merely mental phenomena. The attribution of ˘the˘ mood of our &lt;del&gt;output&lt;/del&gt; human dynamics, &lt;del&gt;of our&lt;/del&gt; is &lt;del&gt;a psychological&lt;/del&gt; (or is not) a psychological fact, and is explicable by other psychological facts, real or not real.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;The question is&lt;/del&gt; &lt;del&gt;Can we find in our consciousness the material, so to speak, out of which Si&lt;/del&gt; &lt;del&gt;"Feelings" as distinguished from "sensations" of dynamic shapes are among&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;direct the direct, the primary data ("données premières") of consciousness&lt;/del&gt;. Modern psychology (and even modern philosophy thanks to Bergson) &lt;del&gt;is&lt;/del&gt; has prepared us to understand that aesthetic "Einfühlung"  would not be a sudden &lt;del&gt;activity&lt;/del&gt; phenomenon starting &lt;hi rend="u"&gt;ex nihilo&lt;/hi&gt;, but a mere re-grouping  of senses of movement which are for ever present in our consciousness, indeed which seem to form its woof (&lt;hi rend="u"&gt;la trame&lt;/hi&gt;).&lt;/p&gt;
&lt;p&gt;"Feelings" (as distinguished from "sensations") of dynamic conditions and alterations are among the &lt;hi rend="u"&gt;direct&lt;/hi&gt;, the primary data of our psychic life : feelings of direction, of velocity, of effort, of facility, all the notions expressed not merely by verbs, adverbs and prepositions, constitute as large a part of our consciouness as those verbs, adverbs and prepositions do of our speech.&lt;/p&gt;
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&lt;p&gt;*&lt;/p&gt;
&lt;p&gt;(Footnote)&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Footnote to p 20--Cf. Richard Hamann’s extraordinarily interesting "über die psychologischen Grundlagen des  Bewegungs-begriffes" in Zeitschrift für Psychologie vol 43. --"Hieraus wirdes Klar, dass wir &lt;del&gt;u&lt;/del&gt; überall da, wo wir einem fremden Körper Bewegung und Ruhe zuschreiben, diesen Körper ans inneren Erfahrungen heraus ein gleiches Verhalten zusoschreiben. Die Beschreibung des relativen Ortsänderung eines isoherten Körpers zu einem Hintergrunde durch die Ansdrücke Bewegung und Ruhe ist ein Anthropomorphismus der als solches am stärksten bei nicht menslichen besonder&lt;/p&gt;
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&lt;p&gt;leblosen Körpern sich geltend macht. Wir tun bei der Bensteilung von &lt;del&gt;Beg&lt;/del&gt; Bewegungen nichts anders als wenn wir Gestalt änderungen eines Gesichts als ausdrucksbewegungen interpretieren.--"&lt;/p&gt;
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&lt;p&gt;the dr direct, the first, primary data (les données premières) of consciousness; f feelings of direction, of velocity, of effort, of of facility, all the notions expressed by adverbs and prepositions, constitute as obvious large a part of our "psychic" life as those adverbs and prepositions do of life's expression in words. Indeed&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;They&lt;/del&gt;They are always present in our "thought"; they are not words of our knowledge of our own existence ˘(*Footnote)˘. &lt;del&gt;There would be nothing&lt;/del&gt; &lt;del&gt;n&lt;/del&gt; &lt;del&gt;It&lt;/del&gt; Nothing would be more natural than that, in the constant process of referring the less known to the better known, of expecting the future in terms of the present,&lt;/p&gt;
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&lt;p&gt;we should &lt;del&gt;express&lt;/del&gt; ˘interpret˘ the relations of seen lines &amp;amp; shapes in the modes of our &lt;del&gt;seeing them and the&lt;/del&gt; own ever-present activities, more particularly as those lines and shapes are themselves aperceived, apprehended, measured, compared,  and reconstructed by &lt;del&gt;a&lt;/del&gt; &lt;del&gt;a great&lt;/del&gt; complex processes of such activity on our own part. &lt;del&gt;Moreover, as&lt;/del&gt; This &lt;del&gt;is th&lt;/del&gt; would be the first &lt;del&gt;act&lt;/del&gt;, &lt;del&gt;a&lt;/del&gt; part of the Lippsian &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;. The second would follow equally naturally, since the &lt;del&gt;thought&lt;/del&gt; &lt;del&gt;˘qualities&lt;/del&gt; peculiarities˘ of our own modes of activity &lt;del&gt;would&lt;/del&gt; not being localised ˘[Cf. Quotation from Münsterberg --Further on] in ourselves by&lt;/p&gt;
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&lt;p&gt;any actual movements with their accompanying sensations, would &lt;del&gt;t&lt;/del&gt; tend to attach itself to the &lt;del&gt;o&lt;/del&gt; exterior objects which had awakened the thought of them, very much as the qualities of colour are transferred &lt;del&gt;from our unlocalised&lt;/del&gt; owing to the unlocalised nature of the sensations, from our eye to the seen objects, so that &lt;del&gt;we should&lt;/del&gt; the qualities of swiftness, smoothness, energy, direction, etc etc, really &lt;del&gt;on&lt;/del&gt; appertaining to our own &lt;del&gt;actual&lt;/del&gt; experience would be attributed to the lines and shapes &lt;del&gt;with whom&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;in the course of whose aperceptions (i.e. of a real activity of measurement, comparison &lt;del&gt;&amp;amp; localis&lt;/del&gt; &amp;amp; reconstruction) such modes of activity would have been awakened in our consciousness. And finally --and this is the third step in a &lt;del&gt;pur&lt;/del&gt; purely psychological analysis of Einfühlung-- these &lt;del&gt;mo&lt;/del&gt; modes (or combinations of modes) of activity would be accompanied by the "pleasure-&lt;del&gt;pain" --or not&lt;/del&gt; displeasure"-- alternative, and amount to an "emotion" whenever their isolation in the field of attention (by&lt;/p&gt;
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&lt;p&gt;Lipps’s "aesthetic isolation") ˘Cf. also quotation from Münsterberg later on)˘ brought all these &lt;del&gt;sxx&lt;/del&gt; &lt;hi rend="u"&gt;feelings of movement&lt;/hi&gt; &lt;del&gt;(movement, in&lt;/del&gt; movement of "attention" and movement&lt;del&gt;s&lt;/del&gt;  associated by the act of interpretation, &lt;del&gt;into&lt;/del&gt; to play the chief part in our consciousness. &lt;del&gt;We should thus&lt;/del&gt; &lt;del&gt;This&lt;/del&gt; ˘Such˘ would be the purely psychological phenomenon &lt;del&gt;of&lt;/del&gt; &lt;del&gt;meant by&lt;/del&gt; &lt;del&gt;attended to by&lt;/del&gt; described by Lipps as Asthetische Einfühlung, and such its explanation by purely psychological data. (foot. S).&lt;/p&gt;
&lt;p&gt;&lt;del&gt;The only thing to&lt;/del&gt;&lt;del&gt;We shoul&lt;/del&gt;&lt;del&gt;This would afford an adequate psychological explanation of the preference of certain visible shapes to certain others.&lt;/del&gt; And the &lt;del&gt;onl&lt;/del&gt; &lt;del&gt;sc&lt;/del&gt; &lt;del&gt;enquiry&lt;/del&gt; acceptance of &lt;del&gt;s&lt;/del&gt; such a hypothesis would depend merely upon the correct observation &lt;del&gt;of the&lt;/del&gt; and analysis of the psychological facts of &lt;del&gt;the&lt;/del&gt; ˘such˘ preference ˘of&lt;/p&gt;
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&lt;p&gt;certain visible shapes˘ whether it is constant &amp;amp; regular, for instance, &lt;del&gt;up&lt;/del&gt; and upon the verification of the alleged presence of &lt;del&gt;motor&lt;/del&gt; ideas of movement and their transfer from our consciouness to the objective reality which had awakened them. X Footnote S&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Such &lt;del&gt;psy&lt;/del&gt; purely psychological testimony to a purely psychological explanation of a&lt;/p&gt;
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&lt;p&gt;purely psychological process of "Aesthetische Einfühlung" Professor Lipps has accumulated in &lt;del&gt;his&lt;/del&gt; the analysis of simple &amp;amp; complex shapes contained in his Raumaesthetik and other of his works. Other evidence on the subject &lt;del&gt;would&lt;/del&gt; always of a purely psychological order, &lt;del&gt;would consist&lt;/del&gt; ˘could be obtained˘, as I shall endeavour to illustrate &lt;del&gt;by experiment&lt;/del&gt; &lt;del&gt;observ&lt;/del&gt; experimentally by the scrutiny of the &lt;del&gt;terminology ad&lt;/del&gt; words &amp;amp; expressions implying movement &lt;del&gt;which ar&lt;/del&gt; habitually applied to motionless shapes  and objects, and of the degree of cogency which such words are admitted to possess by persons employing them.&lt;/p&gt;
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&lt;p&gt;FootNote S ˘Footnote to p 25˘&lt;/p&gt;
&lt;p&gt;How ˘The conclusion to be &lt;del&gt;completed&lt;/del&gt; sufficient drawn from &lt;del&gt;am willing to consider&lt;/del&gt; This purely psychological explanation &lt;del&gt;can be seen&lt;/del&gt; ˘are shown˘ from a˘n˘ &lt;del&gt;note&lt;/del&gt; unpublished note written by me in April 1904 and which ˘Paragraph A˘ agrees extraordinarily with the &lt;del&gt;part&lt;/del&gt; ˘sentence˘ marked A in my quotation from the book which Prof. Münsterberger published in 1905, and with the sentence marked A in the quotation from Prof Groos article on &lt;hi rend="u"&gt;Miterleben&lt;/hi&gt; published in 1909.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I point out the independent manner in which we have arrived at these conclusions because the coincidence &lt;del&gt;ad&lt;/del&gt; &lt;del&gt;proves a&lt;/del&gt; is, I think, indicative of their correctness. / (run on)&lt;/p&gt;
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&lt;p&gt;even suppresses "Individu devant l’objet d’art" given as it is from NoteBook of May April 1904 but cannot find English--&lt;/p&gt;
&lt;p&gt;"Je suis tentée de croire que le mouvement que nous projetons dans l’oeuvre d’art est de la nature de cet acte initial suffisant à déclancher [déclencher] toute une série automatique, qui est la seule partie &lt;del&gt;d&lt;/del&gt; consciente de tout acte habituel (A) Ce mouvement se réduit, pour ainsi dire, à la pensée de l’acte à accomplir; c’est celui qui nous permet d’en donner l’ordre à nous mêmes. C'est le "je me lève" -- "je me baisse" -- "je me mets en branle" -- C'est le "marche[".] Le &lt;hi rend="u"&gt;trois&lt;/hi&gt; qui précède toute action&lt;/p&gt;
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&lt;p&gt;volontaire; bref, c’est tout ce qu’il nous est donné de savoir sur des mouvements parfaitement combinés et tout le procédé musculaire localisé n’est plus présent à notre conscience.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Il ne peut en être autrement. Il est inconcevable que nous projetions dans des objets sans mouvement ou inanimés aurte chose que des mouvements organiques et familiers au point de faire partie intégrale de notre conception de toute existence; or ces mouvements sont absolument automatiques, réduits dans la conscience au schéma le plus amoindri, et ayant perdu tous les signes servant à les localiser&lt;/p&gt;
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&lt;p&gt;dans notre corps. Car si une partie de ce procédé &lt;del&gt;p&lt;/del&gt; musculaire se faisait jour dans notre conscience, elle apporterait avec elle ses signes localisants (pourquoi? June 1909) nous saurions qu’il s’agit d’un mouvement logé en nous, et nous ne pourrions pas plus l’attribuer à un corps étranger que nous ne pourrions attribuer comme "caractère visible" de ce corps étranger une sensation nettement localisée dans &lt;del&gt;n&lt;/del&gt; une partie de notre oeil.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;(B &lt;del&gt;P.&lt;/del&gt;) Lipps est donc dans le vrai en disant qu’il ne peut y &lt;hi rend="u"&gt;avoir conscience de notre état musculaire dans&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;l’acte même de l’Einfühlung. Mais la raison en serait non pas l’impossibilité de rapporter à nous mêmes ce que nous avons projeté au dehors de nous; mais plutôt que nous ne pourrions projeter aussi, comme modalité explicative, comme façon d’être nécessaire, un mouvement peu organisé, imparfaitement automatique et portant par conséquent des signes de localisation dans notre corps (.C) Il s’ensuit que les sensations musculaires localisées qui accompagnent souvent le phénomène&lt;/p&gt;
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&lt;p&gt;esthétique de l’attribution du mouvement aux choses immobiles, &lt;del&gt;surt&lt;/del&gt; seront nécessairement de nature secondaire; seront des réponses automatiques à l’action que nous avons projetée dans la chose vue, en d’autres mots l’imitation intérieure faisant suite à l’Einfühlung, comme l’imitation intérieure et même extérieure fait suite à la seule pensée d’une action non projetée dans un objet vu. Ainsi à la vue d’une colonne, nous aurions la sensation musculaire (et peut-être l’acte extériorisé) de nous dresser parce que cette colonne nous aura paru (ainsi que nous le &lt;del&gt;dép&lt;/del&gt; définissons&lt;/p&gt;
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&lt;p&gt;verbalement) se dresser; mais cette colonne aurait semblé se dresser pour notre imagination parce que certains rapports de lignes reconnus en elle se traduiraient pour nous en des automatismes dynamiques dont il ne resterait dans notre conscience que le fait initial, ce que nous appelons &lt;hi rend="u"&gt;l’idée de se dresser&lt;/hi&gt;. L’attribution de cette idée ainsi dépourvue de signes locaux serait l’Einfühlung nous mettant en rapport de similarité vitale avec la chose vue ; les tensions musculaires aperçues en certains cas (selon moi de &lt;hi rend="u"&gt;moindre&lt;/hi&gt; intensité esthétique, d’une&lt;/p&gt;
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&lt;p&gt;attention plus divisée entre la chose et notre personne) seraient un phénomène d’&lt;hi rend="u"&gt;imitation intérieure&lt;/hi&gt; suscité par l’attribution de notre mouvement à autre chose, bref, une suite non nécessaire de l’&lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I may add to this that it has occured to me that &lt;del&gt;n&lt;/del&gt; such secondary muscular processes may &lt;del&gt;be due&lt;/del&gt; possibly be a means of helping out &lt;del&gt;insufficient&lt;/del&gt; a naturally insufficient attention in the same way that silent muscular performance of a melody may be, I believe, a help to deficient auditive memory, or perhaps, a means of diminishing inattention by calling on the motor centers.&lt;/p&gt;
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&lt;p&gt;(FootNote S continued)&lt;/p&gt;
&lt;p&gt;As regards paragraphs B &amp;amp; C of this note, I put them forward as a mere  suggestion, the correctness of which may be proved, but quite as probably, I think, disproved, by such further &lt;del&gt;observation&lt;/del&gt; psychological and psycho-physiological investigations as I refer to at the end of this article.&lt;/p&gt;
&lt;p&gt;End of Footnote to p. 25.&lt;/p&gt;
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&lt;p rend="center"&gt;III&lt;/p&gt;
&lt;p&gt;But at the time  --in 1896-7-- of my collaboration in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; I had no knowledge (and my collaborator still less) of Lipps’ theory of &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;. I was too much of a novice in general psychology to recognize, as I now do, that a &lt;del&gt;process&lt;/del&gt; ˘hypothesis˘ &lt;hi rend="u"&gt;of attribution of processes in the perceiving subject&lt;/hi&gt; &lt;del&gt;might be projected in&lt;/del&gt; to &lt;hi rend="u"&gt;the perceived object (viz. a visible shape)&lt;/hi&gt; &lt;del&gt;could&lt;/del&gt; might have an efficient and even sufficient basis in merely "mental" data. Moreover the Lange-James theory had, for reasons which will be obvious, &lt;del&gt;connected&lt;/del&gt; ˘offered˘ itself &lt;del&gt;more close&lt;/del&gt; satisfactorily &lt;del&gt;with the question of aesthetic pleasure as a strik&lt;/del&gt; for the purpose.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;But there were other reasons,&lt;/p&gt;
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&lt;p&gt;besides ˘my˘ immaturity of psychological thought and the vogue of a striking hypothesis, &lt;del&gt;which&lt;/del&gt; why I could not &lt;del&gt;stop&lt;/del&gt; ˘remain˘, as Prof. Lipps has more than once (&lt;hi rend="u"&gt;nominativement&lt;/hi&gt; &amp;amp; by severe allusions) admonished me to do, &lt;del&gt;at the&lt;/del&gt; ˘satisfied with˘ merely psychological descriptions and explanations of the phenomenon which my collaborator and myself, &lt;del&gt;believed&lt;/del&gt; had, as I have shown, discovered for ourselves.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;My&lt;/del&gt;My &lt;del&gt;observation, of myself,&lt;/del&gt; ˘own observation of the central aesthetic processes i.e. form &lt;del&gt;es&lt;/del&gt; preference˘ and the amazingly developed self observation of &lt;del&gt;the xx&lt;/del&gt; the collaborator to whom I owed all my examples and experiments and indeed my first notions of such a factor as "Einfühlung" had &lt;del&gt;convince&lt;/del&gt; made me ≠ aware&lt;/p&gt;
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&lt;p&gt;of the presence of other phenomena which, in some cases at least, &lt;del&gt;w&lt;/del&gt; accompanied the aesthetic contemplation and preference of visible shapes. &lt;del&gt;In&lt;/del&gt; I did not arrive at the &lt;del&gt;idea&lt;/del&gt; ˘hypothesis &lt;del&gt;notion˘&lt;/del&gt; of a purely mental or psychic (call it what you like best !) act of &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;, &lt;del&gt;of&lt;/del&gt; at the hypothesis of the projection of mere &lt;hi rend="u"&gt;ideas&lt;/hi&gt; of &lt;del&gt;motion&lt;/del&gt; movement and movement’s modalities, because it seemed to me that what I  afterwards learned to think of under that convenient and misleading name of &lt;hi rend="u"&gt;Einfühlung, was not&lt;/hi&gt; a purely mental process, and that at the base of aesthetic&lt;/p&gt;
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&lt;p&gt;preference there lay not mere &lt;hi rend="u"&gt;ideas&lt;/hi&gt; of a motor kind, but actual muscular &lt;hi rend="u"&gt;sensations&lt;/hi&gt; and even objective bodily movements.  &lt;/p&gt;
&lt;p&gt;In the sentence already quoted from p. 682 of the Contemporary Review &lt;del&gt;N&lt;/del&gt; Oct-Nov 1897, I &lt;del&gt;had&lt;/del&gt; the "attribution of direction and velocity to the lines perceived" had been described by me as the result of "muscular adjustments more considerable than those of the eye". On a previous page (545) I wrote that "in the opinion of the authors of this paper, the subjective states indicated by the objective terms  --&lt;hi rend="u"&gt;height, breadth, depth&lt;/hi&gt;, by the&lt;/p&gt;
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&lt;p&gt;more complex terms &lt;hi rend="u"&gt;round, square,symmetrical, unsymmetrical&lt;/hi&gt; and all their kindred terms (can) be analysed into more or less distinct knowledge of various and variously localised bodily movements"-- On page 673 my collaborator wrote, speaking of the difference between the mere &lt;hi rend="u"&gt;recognition&lt;/hi&gt; of real &lt;hi rend="u"&gt;objects&lt;/hi&gt; and the &lt;del&gt;aesthetic&lt;/del&gt; &lt;hi rend="u"&gt;contemplation&lt;/hi&gt; of &lt;del&gt;aesthetic &amp;amp;&lt;/del&gt; artistic &lt;hi rend="u"&gt;shapes&lt;/hi&gt; --"We are usually satisfied with the "mere optical perception of real figures, or even the mere recognition of them by qualities which serve as labels. But when we come to works of art we demand &lt;hi rend="u"&gt;certain senses of adjustments in our own&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;bodies and to obtain these we require that the fact of lifting up and pressing down, like the facts of  bulk should be strongly realised in the painted figures"-- Again p. 676 my collaborator wrote "For the movement of an arch consists &lt;del&gt;in&lt;/del&gt; of the balance of its two half-arches, and this balance we follow &lt;hi rend="u"&gt;by shifting&lt;/hi&gt; our own weight from one foot to another". and p. 678 "In this way do good antiques improve our consciousness of existence by literally &lt;del&gt;forcing&lt;/del&gt;  forcing us to more harmonious movements. But there are other ways also in which our necessity of &lt;hi rend="u"&gt;miming by our own muscular&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;adjustments&lt;/hi&gt;the forms and figures which we focus etc"-- &lt;del&gt;and the w art&lt;/del&gt; Indeed &lt;del&gt;the whole of&lt;/del&gt; &lt;hi rend="u"&gt;Beauty and  Ugliness&lt;/hi&gt; &lt;del&gt;is&lt;/del&gt; consists very considerably of &lt;del&gt;the record&lt;/del&gt; self observations of my collaborator proving the existence, in her case at least, of ˘localised˘ sensations of movement, and even of actual objective muscular activity, &lt;del&gt;in the&lt;/del&gt; as accompaniments of &lt;del&gt;the&lt;/del&gt; intense contemplation of &lt;del&gt;aesthetic&lt;/del&gt; visible shapes.&lt;/p&gt;
&lt;p&gt;Here therefore we had got, by ˘experimental˘ self observation of my collaborator in which (as I shall later explain at length) I refused to share for fear&lt;/p&gt;
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&lt;p&gt;of auto-suggestion, and also of &lt;del&gt;spontaneous c&lt;/del&gt; accidental observations &lt;del&gt;of spontaneous&lt;/del&gt; (like those of the muscular sensations connected with architecture) in which I did share, --we have got to a hypothesis by which &lt;del&gt;aesth&lt;/del&gt;  the aesthetic &lt;del&gt;contemplation&lt;/del&gt; perception of visible shapes is dependent upon &lt;del&gt;muscular&lt;/del&gt; not any longer upon &lt;hi rend="u"&gt;motor images or ideas&lt;/hi&gt;, but upon &lt;hi rend="u"&gt;muscular adjustments&lt;/hi&gt;, inner or outer, &lt;del&gt;and&lt;/del&gt; upon a bodily process to which, as the &lt;del&gt;above&lt;/del&gt; ˘last˘ quotation exemplifies, I had allowed my collaborator and myself to attach the&lt;/p&gt;
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&lt;p&gt;convenient but disastrous &lt;del&gt;wo&lt;/del&gt; name of "miming"--&lt;/p&gt;
&lt;p&gt;&lt;del&gt;So&lt;/del&gt;Thus "&lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;" contained not merely a psychological hypothesis analogous to the one which Lipps developed under the name of &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;, but also, &lt;del&gt;for the greater confusion&lt;/del&gt; with the result of much confusion and a good deal of ridicule, a hypothesis coincident in many points with the one which my friend Prof. Karl Groos had given the name of "Innere Nachahmung".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;Of&lt;/del&gt;This hypothesis, which&lt;/p&gt;
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&lt;p&gt;I shall call, for convenience sake the "Nachahmung" or &lt;hi rend="u"&gt;motor&lt;/hi&gt; hypothesis, &lt;del&gt;is con&lt;/del&gt; is &lt;del&gt;detachable from&lt;/del&gt; ˘&lt;del&gt;not&lt;/del&gt; necessarily˘ the "Einfühlung" or psychological &lt;del&gt;hyp&lt;/del&gt; hypothesis ; but it presupposes &lt;del&gt;the&lt;/del&gt; &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; and attempts to explain it. The second part of these pages will attempt to shed ˘a little of˘ the light of &lt;del&gt;attempted fact f&lt;/del&gt; fact upon this "Nachahmung"  Element as upon the ˘supposed˘ &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;  process, &lt;del&gt;and&lt;/del&gt; or &lt;del&gt;rather&lt;/del&gt; ˘at least˘ attempt to show that both these hypotheses, Einfühlung and Nachahmung must be tested empirically ; For the moment it is &lt;del&gt;im&lt;/del&gt; sufficient that the reader should hold&lt;/p&gt;
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&lt;p&gt;the two things "Einfühlung" and "Nachahmung" separate in his mind and thus save himself much of the confusion to which my collaborator and myself together with every other aesthetician &lt;del&gt;wh&lt;/del&gt; dealing with "Nachahmung"  have fallen victims. The same remark applies to a third part of the subject, &lt;del&gt;w&lt;/del&gt; &lt;del&gt;wh&lt;/del&gt; &lt;del&gt;connect&lt;/del&gt; &lt;del&gt;usually&lt;/del&gt; ˘always˘ confused, somethimes directly connected with  Nachahmung and to which, using &lt;del&gt;th&lt;/del&gt; my "Beauty and Ugliness" as &lt;hi rend="u"&gt;Corpus Vile&lt;/hi&gt; of this logical demonstration I shall now proceed.&lt;/p&gt;
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&lt;p&gt;The third part of the subject has been treated of by Professor Groos in his &lt;del&gt;late&lt;/del&gt; recent masterly article (Zeitschrift fur Aesthetik ˘1909˘) &lt;del&gt;at&lt;/del&gt; under the name of &lt;hi rend="u"&gt;Kinaesthetic sensations&lt;/hi&gt; "Empfindergen aus dem Körperinnen".&lt;/p&gt;
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&lt;p rend="center"&gt;IV&lt;/p&gt;
&lt;p&gt;In the very first page of &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; there occurs the following sentence which, although obscurely worded, sums up what was then my position regarding the relation of form aperception and Kinaesthesia.&lt;/p&gt;
&lt;p&gt;"Our facts and theories, if at all correct, would establish that the aesthetic phenomenon &lt;del&gt;as a whole&lt;/del&gt;... is the function which regulates the perception of Form, and that the perception of Form, in visual cases certainly, and with reference to hearing presumably, &lt;hi rend="u"&gt;implies an active&lt;/hi&gt; participation of the most important&lt;/p&gt;
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&lt;p&gt;important organs of animal life, a constant alteration, in vital processes requiring stringent regulation for the benefit of the total organism".&lt;/p&gt;
&lt;p&gt;These &lt;hi rend="u"&gt;vital processes&lt;/hi&gt; are summed up on p. 680 &lt;del&gt;as&lt;/del&gt; in the following manner : "The greater or lesser agreeableness of artistic experiences is therefore, due to the dependence of one of our most constant and important intellectual activities, the perception of form, &lt;hi rend="u"&gt;on two of the most constant and important of our bodily functions, respiration and equilibrium&lt;/hi&gt;".&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;This is exp&lt;/del&gt;&lt;del&gt;can b&lt;/del&gt;&lt;del&gt;We&lt;/del&gt;&lt;del&gt;This xxx&lt;/del&gt; This connexion between aperception of visible shape and such bodily functions (to which the cardiac one should of course be added) is &lt;del&gt;explained&lt;/del&gt; explicable by a sentence &lt;del&gt;in&lt;/del&gt; on p. 562 "&lt;hi rend="u"&gt;as the breathing works in closest connection with the eye...&lt;/hi&gt; (This) &lt;hi rend="u"&gt;widened way&lt;/hi&gt; of seeing &lt;hi rend="u"&gt;is necessarily accompanied&lt;/hi&gt; by a widened way of breathing... and the respiratory expansion inevitably produces a general sense of expanded existence" and, &lt;del&gt;another&lt;/del&gt; with reference to the equilibratory function by a sentence on p. 567 :&lt;/p&gt;
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&lt;p&gt;from &lt;del&gt;aest&lt;/del&gt; form aperception) &lt;del&gt;feel&lt;/del&gt; balancing ourselves more or less… and we are therefore so accustomed to this fact &lt;del&gt;that&lt;/del&gt; as scarcely to notice it in ordinary life. But as soon as we see something &lt;hi rend="u"&gt;else adjusting equilibrium, our own balance seems  to swing on a wider scale, and this wider balancing brings a sense of our limits being enlarged in every direction, and our life being spread over a far wider area&lt;/hi&gt;".&lt;/p&gt;
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&lt;p&gt;made by my collaborator, &lt;del&gt;and of what constitutes&lt;/del&gt; whose &lt;del&gt;det&lt;/del&gt; record constitutes a good half of the whole work, are illustrations of the various &lt;del&gt;ways&lt;/del&gt; ˘manner˘ and combinations of manner in which the intense aperception of visible form in its elementary details and in its most complex applications (for instance in an &lt;del&gt;French Gothic&lt;/del&gt; ˘Nation˘ Church façade, in the interior of a French gothic cathedral and in Catena’s &lt;hi rend="u"&gt;St Jerome&lt;/hi&gt; as compared to Titian’s &lt;hi rend="u"&gt;Sacred and Profane Love&lt;/hi&gt;) can&lt;/p&gt;
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&lt;p&gt;produce sensations testifying to such connexion between ocular perception of shape and these respiratory and equilibratory functions.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;We have thus&lt;/del&gt;&lt;del&gt;The&lt;/del&gt; The essay entitled "Beauty and Ugliness" contains therefore, besides a recognition of the attribution of our own modes of movement to visible shapes (&lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt;) and &lt;del&gt;the&lt;/del&gt; an &lt;del&gt;alledged&lt;/del&gt; the statement of an alledged [alleged] set of "muscular adjustment more considerable than those of the eye" resulting in "a sense&lt;/p&gt;
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&lt;p&gt;of direction and velocity in ourselves and a consequent attribution of direction and velocity to the lines &lt;del&gt;themselves (p 682)&lt;/del&gt; thus perceived (p. 682) &lt;del&gt;a&lt;/del&gt; &lt;del&gt;in othe&lt;/del&gt; or in our unfortunate phrase a "miming process" &lt;del&gt;an&lt;/del&gt; analogous to the "Innere Nachahmung" of Karl Groos, --our essay contains, connected with this &lt;del&gt;latter&lt;/del&gt; ˘Nachahmung˘ theory and intended as explanation not only of it but of the &lt;del&gt;"Ei&lt;/del&gt; &lt;del&gt;attri&lt;/del&gt; "Einfühlung" theory above mentioned, a &lt;del&gt;thr&lt;/del&gt; third hypothesis &lt;del&gt;a&lt;/del&gt; &lt;del&gt;wx&lt;/del&gt; to the effect that aesthetic&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;form sh &lt;/del&gt;aperception of visible shapes is agreeable or disagreeable &lt;hi rend="u"&gt;because&lt;/hi&gt; it involves alterations in &lt;del&gt;certain&lt;/del&gt; &lt;del&gt;the&lt;/del&gt; great organic functions, principally respiratory and equilibratory, which &lt;del&gt;them&lt;/del&gt; are themselves accompanied by feelings of &lt;del&gt;organic&lt;/del&gt; more or less well being or the contrary. In this way does the "Lange-James" theory identifying &lt;del&gt;emotional&lt;/del&gt; emotion with &lt;del&gt;xx xx&lt;/del&gt; alterations of our bodily condition, find its application to aesthetics.&lt;/p&gt;
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&lt;p&gt;I have analysed at some length the chief headings of this joint work of C. Anstruther-Thomson and myself &lt;del&gt;because&lt;/del&gt; &lt;del&gt;t I can&lt;/del&gt; in order &lt;del&gt;not merely&lt;/del&gt; to distinguish between the various connected (but not necessarily dependent) theories of &lt;hi rend="u"&gt;Einfühlung, Innere Nachahmung&lt;/hi&gt; and &lt;del&gt;Kinaesthetic&lt;/del&gt; "Lange-James participation of organic functions" &lt;del&gt;which&lt;/del&gt; into which what Karl Groos now calls "Aesthetisches Miterleben" ought to analysed for the purposes of investigation[.] &lt;/p&gt;
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&lt;p&gt;But this is only part of my present purpose. &lt;del&gt;I&lt;/del&gt; Having, as I hope, put some order in the theoretic side of the question, I desire to &lt;del&gt;show how&lt;/del&gt; examine &lt;del&gt;into the evidence&lt;/del&gt; the nature of the facts upon which these three connected theories are founded ; &lt;del&gt;and&lt;/del&gt; to examine what further &lt;del&gt;di&lt;/del&gt; theoretic distinctions these facts should lead to, and finally to examine &lt;del&gt;how a&lt;/del&gt; &lt;del&gt;our&lt;/del&gt; into the probability of obtaining &lt;del&gt;adequate&lt;/del&gt; &lt;del&gt;so&lt;/del&gt; facts sufficient to &lt;del&gt;reject&lt;/del&gt; accept or reject some or all of these hypotheses.&lt;/p&gt;
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&lt;p&gt;And here, I again find it simplest to treat my own work in the domain of &lt;del&gt;psychology&lt;/del&gt; aesthetics as the &lt;hi rend="u"&gt;corpus vile&lt;/hi&gt; of my demonstration.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I have just &lt;del&gt;remarked&lt;/del&gt; alluded to the three theories –the (more or less Lippsian) &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; ; the (more or less Karl Groosian) &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt;, and the "Lange-James" theory of &lt;del&gt;organic&lt;/del&gt; bodily emotion, as being founded upon facts. I do not mean by this that they will be proved true by facts ; &lt;del&gt;I&lt;/del&gt; but merely that they have been suggested by the observation&lt;/p&gt;
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&lt;p&gt;which may, &lt;del&gt;or may not&lt;/del&gt; be, confirmed or invalidated by ˘the˘ observation on a larger scale and accompanied by more rigorous analysis. The &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; theory appears to have been suggested &lt;del&gt;by&lt;/del&gt; to Prof Lipps by &lt;del&gt;ex&lt;/del&gt; purely psychological facts united with examination of &lt;del&gt;dominant artisti&lt;/del&gt; forms recurring in works of art. The &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt; and the &lt;del&gt;"Lange-James" theory&lt;/del&gt; &lt;del&gt;x&lt;/del&gt; &lt;hi rend="u"&gt;aesthetic application&lt;/hi&gt; of the &lt;hi rend="u"&gt;Lange James theory&lt;/hi&gt; &lt;del&gt;has&lt;/del&gt; has evidently been suggested to Prof. Groos by his attention having been drawn to mimetic processes (actual or merely felt) and to phenomena of&lt;/p&gt;
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&lt;p&gt;what we will call "bodily resonance" which have &lt;del&gt;aco&lt;/del&gt; accompanied aesthetic contemplation in his own case. As regards "Beauty and Ugliness"-- all these three theories (which neither my collaborator nor myself sufficiently distinguished) were suggested &lt;del&gt;m&lt;/del&gt; &lt;del&gt;partly by&lt;/del&gt; so far as "Einfühlung" went by my own introspection and my observation &lt;del&gt;on&lt;/del&gt; of the vocabulary of movement and modes of movement &lt;del&gt;of&lt;/del&gt; &lt;del&gt;com&lt;/del&gt; universally applied to &lt;del&gt;motionless shapes a&lt;/del&gt; motionless &lt;del&gt;shap&lt;/del&gt; visible shapes ; and, with regard to "Nachahmung"&lt;/p&gt;
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&lt;p&gt;and "Lange-James  theory"-- &lt;del&gt;to&lt;/del&gt; they were suggested &lt;del&gt;mainly&lt;/del&gt; to my collaborator C. Anstruther Thomson by accidental self observation &lt;del&gt;afterwards d&lt;/del&gt; in the course of  "Kunst-historisch" &lt;del&gt;sxx&lt;/del&gt; and practical artistic studies ; and confirmed &lt;del&gt;by&lt;/del&gt; in part by &lt;del&gt;int&lt;/del&gt; observations, as distinguished from experiments, made by myself. And here it is well to repeat what ought to have been premised in writing &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, namely, that the experimental accounts refer &lt;del&gt;to one&lt;/del&gt; with few exceptions, to one person only. For, while&lt;/p&gt;
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&lt;p&gt;encouraging my collaborator to push introspective experiment to the utmost and develop the capacity for it to the highest point of lucid self analysis, I did &lt;del&gt;not brush&lt;/del&gt; not attempt to make such experiments myself well knowing that I ˘personally˘ should never be secure from auto-suggestion, and having remarked in myself a certain deficiency in &lt;del&gt;natur&lt;/del&gt; spontaneous consciousness of motor and respiratory sensations, my own spontaneous accompanying (or if you prefer) epiphenomena in aesthetic matters being connected rather&lt;/p&gt;
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&lt;p&gt;with rythmic-auditive peculiarties and with cardiac symptoms (&lt;del&gt;see&lt;/del&gt; for detail see Revue Phil).&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;The Essay &lt;/del&gt; &lt;del&gt;Beauty and Ugliness&lt;/del&gt; &lt;del&gt; I had en conclu ended my part of the essay on &lt;/del&gt; &lt;del&gt;Beauty and Ugliness&lt;/del&gt; &lt;del&gt; by an appeal to study... to seek, for ("before&lt;/del&gt;&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I had ended the essay on &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; by an appeal to psychologists and aestheticians to seek for whatever accompaniment of &lt;del&gt;body&lt;/del&gt; bodily "sensations we may discover to them (&lt;del&gt;pu factor of phi&lt;/del&gt; aesthetic and other psychological phenomena) in the dim places of our&lt;/p&gt;
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&lt;p&gt;consciousness"-- But, although copies of Beauty and Ugliness were sent to a great number of specialists, nothing &lt;del&gt;eve&lt;/del&gt; came of this appeal except &lt;del&gt;a&lt;/del&gt; &lt;del&gt;notice by Mr Arre&lt;/del&gt; &lt;del&gt;a rather puzzled&lt;/del&gt; ˘a brief but friendly˘ notice of M. Arreat in the Revue Philosophique, a quotation (to which &lt;del&gt;I&lt;/del&gt; all subsequent notices &lt;del&gt;m&lt;/del&gt; are probably due) in Prof Karl Groos’s &lt;del&gt;Sp&lt;/del&gt; great "Spiele der Menschen" and a  scathing but most useful criticism by Prof Lipps in [leave blank].&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;How xx&lt;/del&gt;Nothing daunted by this silence, I appealed once more&lt;/p&gt;
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&lt;p&gt;to the specialists who ought to have been interested in the question, and laid before the fourth psychological congress a &lt;hi rend="u"&gt;mémoire et Questionnaire sur le rôle de l’élément moteur dans la Perception esthétique visuelle&lt;/hi&gt;. I need scarcely &lt;del&gt;sa&lt;/del&gt; add, for those who have experience of the treatment of aesthetics by &lt;del&gt;psycholo p&lt;/del&gt; general psychologists, that not the very smallest notice was taken of this summing up of the problems &amp;amp; hypothesis discussed in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;. &lt;del&gt;But although&lt;/del&gt; I determined to cease appealing&lt;/p&gt;
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&lt;p&gt;to psychologists and to pursue my investigations without their assistance. I reprinted the mémoire et questionnaire soumis au 4&lt;hi rend="sup"&gt;ème&lt;/hi&gt; Congrès de Psychologie and circulated in privately among such of my acquaintances as were supposed to take pleasure in art, requesting them to  answer as many of the questions as possible. This proceeding produced a collection of 48 written answers to the questionnaire and with these I am now going to deal, premising &lt;del&gt;that&lt;/del&gt; a few explanations about&lt;/p&gt;
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&lt;p&gt;the questionnaire. Firstly, it &lt;del&gt;h&lt;/del&gt; was the &lt;del&gt;resu&lt;/del&gt; result of a suspicion, which had arisen in me (as it did in Prof. Groos in a work which I did not then know) that &lt;del&gt;the&lt;/del&gt; some of the phenomena described by my collaborator C. Anstruther Thomson in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; might be special to &lt;del&gt;ph&lt;/del&gt; individuals belonging to what I then (though no longer) believed in as the "motor type", and that susceptibility to preference, to satisfaction and dissatisfaction connected&lt;/p&gt;
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&lt;p&gt;with the aperception of visible shapes might be &lt;del&gt;due to the&lt;/del&gt; confined to persons belonging to such a "motor type"-- &lt;del&gt;My&lt;/del&gt; &lt;del&gt;My&lt;/del&gt; My questionnaire therefore attempted to ascertain the relation between the degree of aesthetic sensibility of &lt;del&gt;m&lt;/del&gt; my subjects with certain peculiarities which I &lt;del&gt;ch&lt;/del&gt; supposed to &lt;del&gt;belonging&lt;/del&gt; belong to the famous "motor type"-- The questions were &lt;del&gt;th&lt;/del&gt; grouped with this in view. The degree of aesthetic sensitiveness was tested by a single question (Question 9) "L’arrangement des divers plans d’un tableau,&lt;/p&gt;
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&lt;p&gt;la convergence ou la divergence des lignes qui s’enfoncent plus ou moins, vous donnent-ils soit un sentiment de soulagement, d’attraction et de bien-être, soit, (dans l’arrangement contraire) un malaise vague, une espèce d’oppression et de dégout [dégoût], presque de l’antipathie et du chagrin".&lt;/p&gt;
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&lt;p&gt;of which they knew themselves to be ignorant; the differenciation ought to have been obtained by asking "do you care for pictures independent of the subject represented and the technical interest, just for the pleasure of lines and &lt;del&gt;ar&lt;/del&gt; composition"-- The majority of the questions were intended to discover whether the subject belonged to the motor type or to the purely visual one. This was tested by &lt;del&gt;questions&lt;/del&gt; &lt;del&gt;direct&lt;/del&gt; questions suggested by the experiments detailed in "Beauty and Ugliness" &lt;del&gt;and w&lt;/del&gt; &lt;del&gt;and which I sup&lt;/del&gt; and learning upon the &lt;del&gt;part&lt;/del&gt; &lt;del&gt;nature&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;the subject’s habits of remembering scenery and persons (whether &lt;hi rend="u"&gt;en pose&lt;/hi&gt; or in motion) his habits of &lt;del&gt;looking&lt;/del&gt; standing still or moving in &lt;del&gt;presence&lt;/del&gt; ˘connexion˘ of real landscapes and of free standing statues and the interior of movements, and &lt;del&gt;in a by&lt;/del&gt; by his considering (or not) words and metaphors attributing movement to &lt;del&gt;visible&lt;/del&gt; motionless objects and forms as "literal" or "conventional" forms of expression ; and finally by asking whether he was conscious of  states of &lt;hi rend="u"&gt;motor tension&lt;/hi&gt; independent of real objective movement.&lt;/p&gt;
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&lt;p&gt;With this intention the questions were grouped together in &lt;del&gt;such&lt;/del&gt; a manner calculated to connect them for my purposes, but also, as I &lt;del&gt;xx&lt;/del&gt; soon found, to confuse them &lt;del&gt;most&lt;/del&gt; almost inevitably in the minds of the persons interrogated. To &lt;del&gt;at&lt;/del&gt; these essential mistakes, due to inexperience and thoughtlessness and rendering my Questionnaire &lt;del&gt;most&lt;/del&gt; very practically ineffectual, must be added that having been originally intented for the psychologists of the 4&lt;hi rend="sup"&gt;th&lt;/hi&gt; Congress (who &lt;del&gt;naturally&lt;/del&gt; paid no attention to&lt;/p&gt;
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&lt;p&gt;it, its text was bristling with technical expressions &lt;del&gt;cal&lt;/del&gt; and began with a question calculated to frighten off laymen, &lt;del&gt;n&lt;/del&gt; the &lt;del&gt;xx&lt;/del&gt; almost (as I now think) unanswerrable question "Avez-vous des indices qui vous rattachent à vos propres yeux au &lt;hi rend="u"&gt;type visuel&lt;/hi&gt; ou au &lt;hi rend="u"&gt;type moteur&lt;/hi&gt;" ?&lt;/p&gt;
&lt;p&gt;I have gone into detail about the badness of this &lt;hi rend="u"&gt;Questionnaire&lt;/hi&gt;, because this badness may account, in part, for its partial failure, and &lt;del&gt;give&lt;/del&gt; have hope for better success &lt;del&gt;w&lt;/del&gt; if an inquiry were better conducted. But the failure was only partial. Despite much&lt;/p&gt;
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                          <text>Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle)</text>
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&lt;p&gt;confusion and more &lt;del&gt;sc&lt;/del&gt; refusal to answer, certain facts did come out, and facts which shed some light, I think, upon the three &lt;del&gt;problems&lt;/del&gt; ˘hypotheses˘ of  &lt;hi rend="u"&gt;Einfühlung, Nachahmung&lt;/hi&gt; and application of the Lange James theory, and upon this relation with one another.&lt;/p&gt;
&lt;p&gt;It is for this reason that I shall place before the Readers of the Zeitschift für Esthetik the results of an analysis ˘or scrutiny (dépouillement)˘ which I have now made of the  &lt;del&gt;x&lt;/del&gt; answers to my &lt;hi rend="u"&gt;Questionnaire sur le rôle de l’Elément Moteur dans la Perception esthétique Visuelle&lt;/hi&gt;.&lt;/p&gt;
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&lt;p&gt;This &lt;del&gt;dépoui&lt;/del&gt; analysis of ˘the answers to˘my Q&lt;hi rend="u"&gt;uestionnaire&lt;/hi&gt; has been made after nine years, and when my views respecting the problems of aesthetics &lt;del&gt;and&lt;/del&gt; their formulation and relation have been changed not only by &lt;del&gt;atten&lt;/del&gt; additional knowledge of general psychology and by the illuminating study especially of the work of Lipps and of &lt;del&gt;my friend&lt;/del&gt; Karl Groos and of Prof. Münsterberger, but also by constant &lt;del&gt;reg&lt;/del&gt; noted down observation&lt;del&gt;s&lt;/del&gt; of psychological&lt;/p&gt;
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&lt;p&gt;conditions sponteanously accompanying &lt;del&gt;and&lt;/del&gt; (as distinguished from being, like C. Anstruther Thomson’s, obtained by deliberate experimental introspection) &lt;del&gt;my&lt;/del&gt; &lt;del&gt;the&lt;/del&gt; such &lt;del&gt;constant&lt;/del&gt; coming in presence with works of art as is constant &lt;del&gt;in h&lt;/del&gt; &amp;amp; habitual in the life of a person living in the midst of galleries and monuments (Florence – Rome – Venice – Paris – London) and &lt;del&gt;whose&lt;/del&gt; chiefly known to the general public as a writer on art.&lt;/p&gt;
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&lt;p rend="i"&gt;Miss Paget’s MS&lt;/p&gt;
&lt;p rend="i"&gt;p &lt;del&gt;46&lt;/del&gt; ˘66˘ to 155&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;Additional&lt;/del&gt;Such additional study has &lt;del&gt;not only&lt;/del&gt; convinced me, not only of the existence of a ˘theoretic˘ separation between the hypothesis of Einfühlung and those of Nachahmung and application of the Lange James theory, but has, independently of the answers to my Questionnaire, &lt;del&gt;of which&lt;/del&gt; to which I shall soon return, it has placed before me &lt;del&gt;the&lt;/del&gt; several extremely suggestive facts.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;The first is that as regards myself, there is evidence of the attribution of modes of movements, energy and vitality to lines and shapes&lt;del&gt;, wi&lt;/del&gt; &lt;del&gt;and&lt;/del&gt; to the extent of&lt;/p&gt;
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&lt;p&gt;occasional approach &lt;del&gt;alm&lt;/del&gt; to &lt;del&gt;something x&lt;/del&gt; such "delusions" as thinking that &lt;del&gt;the moon is moving and &lt;/del&gt;&lt;del&gt;the clouds stationary, or that a mountain&lt;/del&gt; ˘that a mountain˘ &lt;hi rend="u"&gt;rises up&lt;/hi&gt; as we &lt;del&gt;approach&lt;/del&gt; go towards it rapidly in a boat, a motorcar or on a bicycle (a delusion already poetically described by Wordsworth and  admirally studied by Richard Hamann in (leave blank). ˘(Footnote +) I find myself in absolute agreement with my &lt;del&gt;coll&lt;/del&gt; former collaborator C. Anstruther Thomson in ascribing to mere arrangements of lines and planes&lt;del&gt;, to mere&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;Foot note to page 68.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;As a&lt;/del&gt;I will illustrate what I mean by the following entry in my diary for ˘&lt;del&gt;April 29. 1904&lt;/del&gt;˘ April 24&lt;hi rend="sup"&gt;th&lt;/hi&gt; 1904&lt;/p&gt;
&lt;p&gt;"Walking about in Baptistry in state of extreme aesthetic non-receptivity. My eye caught that swirl pattern ˘on the floor˘ was immensely surprised that from a distance it took the appearance of a double trefoil. I approached. While approaching &amp;amp; while I stood still the pattern seemed to move very positively &amp;amp; violently-- to dap up and down, swirl &amp;amp; bend, as I &lt;hi rend="u"&gt;remember&lt;/hi&gt; water does. I say I &lt;hi rend="u"&gt;remember&lt;/hi&gt; because it’s possible that by comparison with &lt;hi rend="u"&gt;real&lt;/hi&gt; water this would have been motionless --or the contrary ? But the movement seemed &lt;hi rend="u"&gt;totally objective; I could trace no movement of my eye or attention&lt;/hi&gt;. No work of art has ever given me such&lt;/p&gt;
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&lt;p&gt;a positive sense of movement. I was not inclined to be interested,  quite the reverse, and everything else seemed as dead as a doornail. I had been waiting &lt;del&gt;in t&lt;/del&gt; at the station nearly an hour, noticing, undergoing the  faces &amp;amp; manners &amp;amp; movement of the people with disagreable vivacity. I did not notice about a tune. &lt;del&gt;I&lt;/del&gt; Dreams afterwards not very receptive.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Baptistry&lt;/p&gt;
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&lt;p&gt; &lt;del&gt;forms&lt;/del&gt; two dimensional or three dimensional ˘"forms"˘, &lt;del&gt;hu&lt;/del&gt; of actions like &lt;hi rend="u"&gt;rising up, lifting, pressing down, expanding, going in&lt;/hi&gt;, bulging out, &lt;hi rend="u"&gt;balancing&lt;/hi&gt;, &lt;del&gt;lifting&lt;/del&gt; and all the other actions &lt;del&gt;us&lt;/del&gt; employed in the descriptive parts of &lt;hi rend="u"&gt;Beauty and Ugliness.&lt;/hi&gt; But I also recognize that in my own case the attribution of such qualities of movement is &lt;del&gt;com&lt;/del&gt; so complete that &lt;del&gt;it would occur to me that they&lt;/del&gt; it would no more occur to me that the movements were&lt;/p&gt;
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&lt;p&gt;in my mind than it would occur to me, except as a &lt;hi rend="u"&gt;result&lt;/hi&gt; of scientific teaching, that what I call colour is a phenomenon taking place in my eye and nerves, or that what I call a musical &lt;hi rend="u"&gt;tone&lt;/hi&gt; is, similarly, not in the vibrating body or the air but in my own organs of perception. In other words these qualities are, in my case, thought of and perceived as &lt;hi rend="u"&gt;really existing&lt;/hi&gt; in the external shape &lt;del&gt;of&lt;/del&gt; or object, however much&lt;/p&gt;
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&lt;p&gt;my reason tells me that a motionless object or a mere two or three dimensional form, cannot be performing any of the actions which I attribute to it ; &lt;del&gt;In fact&lt;/del&gt; in fact I seem [to] distinguish between two kinds of movement &lt;del&gt;in the obje.&lt;/del&gt; &lt;del&gt;which are&lt;/del&gt; &lt;hi rend="u"&gt;outside&lt;/hi&gt; of myself : the movement of things which are moving &lt;del&gt;in the&lt;/del&gt; in space, occupying different parts of space and presenting different portions of themselves to my eye; and the movement of things which are &lt;hi rend="u"&gt;not&lt;/hi&gt; moving in space and which do &lt;hi rend="u"&gt;not&lt;/hi&gt; present different&lt;/p&gt;
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&lt;p&gt;parts of themselves to my eye. But &lt;del&gt;to&lt;/del&gt; ˘in˘ my individual consciousness, these two different kinds of movement are equally independent of any participation of my ego : I &lt;hi rend="u"&gt;follow&lt;/hi&gt; them because they are &lt;hi rend="u"&gt;outside&lt;/hi&gt; me. And &lt;del&gt;here I must&lt;/del&gt; here, while taking &lt;del&gt;an&lt;/del&gt; this opportunity of protesting against Prof. Lipps formula of &lt;hi rend="u"&gt;projection of the ego&lt;/hi&gt; as distinguished from &lt;hi rend="u"&gt;attribution of states of the ego&lt;/hi&gt;, I must point out a slovenliness of thought of which&lt;/p&gt;
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&lt;p&gt;C. Anstruther Thomson and myself were guilty at the time of writing &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, and of which even so acute a critic as Karl Groos in not entirely free. Throughout &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; we talked of "following lines" ; ˘we also talked˘ of &lt;hi rend="u"&gt;miming&lt;/hi&gt; &lt;del&gt;or following&lt;/del&gt; the &lt;hi rend="u"&gt;balance&lt;/hi&gt;, &lt;del&gt;of&lt;/del&gt; the &lt;hi rend="u"&gt;movement&lt;/hi&gt; of an arch, of "perception of the &lt;hi rend="u"&gt;grip of&lt;/hi&gt; the ground by a façade's &lt;del&gt;base&lt;/del&gt; ˘base˘" -- and of "downward pressure of the mouldings and cornices" &lt;del&gt;of the&lt;/del&gt; of "involuntary imitation of the legs of the chair pressing hard on the ground"-- when in&lt;/p&gt;
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&lt;p&gt;reality a mere visible form cannot &lt;hi rend="u"&gt;press&lt;/hi&gt; downwards, cannot &lt;hi rend="u"&gt;grip&lt;/hi&gt;, cannot &lt;hi rend="u"&gt;balance&lt;/hi&gt; except &lt;del&gt;in ou&lt;/del&gt; &lt;del&gt;imagin&lt;/del&gt;  in so far as we imagine them to do so, nor can lines &lt;hi rend="u"&gt;move&lt;/hi&gt; except because we attribute to them the movement by which we, as we expect it, &lt;hi rend="u"&gt;follow them&lt;/hi&gt;, whereas there is nothing to &lt;hi rend="u"&gt;follow&lt;/hi&gt; since there is nothing moving. In fact we were guilty of explaining a movement or action on our own part as "miming", that is as called into being, by a previously existing "movement" which&lt;/p&gt;
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&lt;p&gt;we had previously (and correctly, I think) explained as being &lt;hi rend="u"&gt;attributed&lt;/hi&gt; to motionless form because it accompanied that form’s aperception. I shall have to return later to this logical oversight, &lt;del&gt;because it&lt;/del&gt; in connexion with the theory (and the facts) of "Innere Nachahmung"--&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;What I wish to insist upon at this moment is simply that examination of my own &lt;del&gt;conscious&lt;/del&gt; aesthetic experience has shown me that, &lt;del&gt;there is&lt;/del&gt; whatever activities of &lt;hi rend="u"&gt;following&lt;/hi&gt;, or &lt;hi rend="u"&gt;miming&lt;/hi&gt;, or liking or&lt;/p&gt;
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&lt;p&gt;disliking certain &lt;del&gt;three&lt;/del&gt; two or three dimensional &lt;del&gt;forms&lt;/del&gt; ˘shapes˘ &lt;del&gt;tak&lt;/del&gt; may take place in myself, there is always a primary fact of certain &lt;del&gt;forms&lt;/del&gt; ˘shapes˘ possessing movement and modalities of movement &lt;del&gt;absolut&lt;/del&gt; as something entirely objective in the sense of thought  of without reference to myself. &lt;del&gt;The shapes &lt;/del&gt;&lt;del&gt;are&lt;/del&gt;&lt;del&gt; gripping, balancing&lt;/del&gt; The shapes, as I correctly stated it in p. 568 of &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, "&lt;hi rend="u"&gt;seem&lt;/hi&gt; to balance and move", and I am not in the least aware of this &lt;hi rend="u"&gt;seeming&lt;/hi&gt; being dependent upon any thought or act of my own ; my&lt;/p&gt;
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&lt;p&gt;thoughts and acts come in secondarily, and as a seeming result, often a very different result, of the "seeming" balancing, moving or other proceedings of the lines and shapes.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;This&lt;/del&gt;My personal experience here confirms the belief in &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; as a purely "mental" phenomenon, requiring no bodily "sensations" no definitely or vaguely  &lt;del&gt;"&lt;/del&gt;localised&lt;del&gt;"&lt;/del&gt;  "feelings of activity." And it seems to me that the very wording of many of my collaborator’s experiments takes for granted&lt;/p&gt;
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&lt;p&gt;an unlocalised, a wholly unperceived act of "Einfühlung" preliminary to the &lt;del&gt;muscular&lt;/del&gt; localised phenomena and other objective movements by which the movement attribution is explained in those experiments.&lt;/p&gt;
&lt;p&gt;Now let us turn to my Questionnaire sur &lt;hi rend="u"&gt;l’Elément moteur&lt;/hi&gt; and see whether the answers to it can throw any light upon the question about which I have just been  consulting my own experience, namely &lt;del&gt;does&lt;/del&gt; "Does such a process as &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; really exist" ? Do &lt;del&gt;many&lt;/del&gt; ˘most˘ persons or many or any, except professional aestheticians, habitually attribute modes of their own movement and life to motionless and&lt;/p&gt;
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&lt;p&gt;inanimate shapes ? This can be &lt;del&gt;To the question&lt;/del&gt; examined by considering current modes of speech. Forty five persons, of whom I was one, were asked whether they could attach any kind of literal meaning to such expressions as "lignes qui s’élancent, toit qui s’abaisse, groupes qui s’équilibrent" or &lt;del&gt;whe&lt;/del&gt; other verbs of movement applied to motionless objects" or whether they considered these expressions as purely conventional and without intrinsic truth. Of these forty five persons fourteen gave no answer, nine answered &lt;hi rend="u"&gt;no&lt;/hi&gt;, while twenty&lt;/p&gt;
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&lt;p&gt;two, that is to say only one less than &lt;del&gt;the to&lt;/del&gt; half, answered &lt;hi rend="u"&gt;yes&lt;/hi&gt;. Considering that the &lt;del&gt;acc&lt;/del&gt; abstention from all answer whether accidental or &lt;del&gt;purpos&lt;/del&gt; intentional, cannot be counted to the &lt;hi rend="u"&gt;nos&lt;/hi&gt;, it seems to me that we may conclude that at least half of the subjects interrogated presented case of &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; pure and simple.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;B&lt;/del&gt;all&lt;/p&gt;
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&lt;p&gt;Int&lt;/p&gt;
&lt;p&gt;                                       V&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I will begin&lt;/p&gt;
&lt;p&gt;The most &lt;del&gt;int&lt;/del&gt; important and evidence obtained by my questionnaire is on the subject of what Prof. Groos has accustomed us to think of as "Innere Nachahmung" meaning thereby &lt;del&gt;an accompaniment&lt;/del&gt; ˘&lt;del&gt;sensations of&lt;/del&gt; states˘ muscular &lt;del&gt;sensations&lt;/del&gt; strain, &lt;del&gt;more or less localised,&lt;/del&gt; which accompany or emphasize the aesthetic phenomenon, and which vary from &lt;del&gt;vague&lt;/del&gt; faint &amp;amp; only vaguely localised sensations to actual beginnings of &lt;del&gt;imitative&lt;/del&gt; movements which are somethimes &lt;del&gt;act&lt;/del&gt; carried out ; muscular states&lt;/p&gt;
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&lt;p&gt;in confirmation of whose existence Prof. Groos has more than once done my collaborator and myself the honour of quoting from our print work on &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;.&lt;/p&gt;
&lt;p&gt;It is, I repeat, upon this subject that the answers to my Questionnaire are the most important and instructive. They are so, strange as it may at first appear, exactly because they are utterly contradictory to one another and even contradictory in themselves. On the &lt;del&gt;qu&lt;/del&gt; questions referring &lt;del&gt;to&lt;/del&gt; &lt;del&gt;imitation, &lt;/del&gt;&lt;del&gt;neg&lt;/del&gt;&lt;del&gt; of&lt;/del&gt; to such phenomena (11&lt;hi rend="sup"&gt;e&lt;/hi&gt; quest.&lt;/p&gt;
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&lt;p&gt;out of 45 persons interrogated &lt;del&gt;thirty&lt;/del&gt; thirty nine have answers. But of these 39 answers &lt;del&gt;by n&lt;/del&gt; only a small proportion can be &lt;del&gt;ru&lt;/del&gt; put under a &lt;del&gt;distinct&lt;/del&gt; rubric of &lt;hi rend="u"&gt;yes&lt;/hi&gt; or &lt;hi rend="u"&gt;no&lt;/hi&gt;.  Ten answer &lt;hi rend="u"&gt;not at all&lt;/hi&gt;. Only &lt;hi rend="u"&gt;two&lt;/hi&gt; answer &lt;hi rend="u"&gt;yes&lt;/hi&gt; or &lt;hi rend="u"&gt;certainly&lt;/hi&gt;. Twenty seven answer &lt;del&gt;with&lt;/del&gt; with &lt;hi rend="u"&gt;provisos&lt;/hi&gt; and &lt;hi rend="u"&gt;distinguos&lt;/hi&gt; which &lt;del&gt;constitute apparent contradictions&lt;/del&gt; somethimes constitute apparent contradictions. &lt;hi rend="u"&gt;Six&lt;/hi&gt; &lt;del&gt;refer&lt;/del&gt; limit the &lt;del&gt;imitation&lt;/del&gt; imitative impulse&lt;/p&gt;
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                          <text>Document : Fonds de dotation André et Berthe Noufflard.</text>
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&lt;p&gt;to &lt;hi rend="u"&gt;remembering&lt;/hi&gt; or &lt;hi rend="u"&gt;describing (&lt;/hi&gt;A "when memory is lively" -- B "rather when thought of"-- C "in describing"-- D "in recalling only"-- E "as result of thinking about it" etc)&lt;/p&gt;
&lt;p&gt;Another group of five answers (of which myself) &lt;del&gt;discriminates&lt;/del&gt; speaks of &lt;hi rend="u"&gt;dramatic&lt;/hi&gt; imitation or imitation of the &lt;hi rend="u"&gt;human action&lt;/hi&gt; of a work of art (&lt;del&gt;A&lt;/del&gt; ˘F˘ "only or especially if the attitude represented is forced," &lt;del&gt;B&lt;/del&gt; ˘G˘ "only in the case of inferior or badly restored statues &lt;del&gt;C&lt;/del&gt; ˘H˘ "if a picture is lifelike, but engagement is greatest when body is at rest"--&lt;/p&gt;
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&lt;p&gt;˘&lt;del&gt;D&lt;/del&gt;˘ Two ˘(not myself)˘ discriminating still further saying (&lt;del&gt;A&lt;/del&gt;˘I˘) that outer imitation distracts the attention and (˘J˘ &lt;del&gt;B&lt;/del&gt;) that imitation brings home the "human quality of a represented gesture" but that this "does not affect the aesthetic appreciation".&lt;/p&gt;
&lt;p&gt;We now come to another group of answers to which I wish to draw particular attention. I will put &lt;del&gt;their&lt;/del&gt; these answers in a &lt;hi rend="u"&gt;crescendo&lt;/hi&gt; of suggestiveness. ˘K˘ &lt;del&gt;A&lt;/del&gt; speaks of slight indication with the body of the &lt;hi rend="u"&gt;pose&lt;/hi&gt; of a statue"-- This is ambiguous&lt;/p&gt;
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                          <text>Document : Fonds de dotation André et Berthe Noufflard.</text>
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&lt;p&gt;but&lt;del&gt; B&lt;/del&gt; ˘L˘ leaves no doubt that &lt;del&gt;there is&lt;/del&gt; he means Nachahmung not necessarily of a dramatic sort, &lt;del&gt;"&lt;/del&gt;speaking of impulses to imitate "braced or languid attitude"-- This distinction between &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt; &lt;del&gt;of a dramatic and of an aesthetic kind&lt;/del&gt; of the &lt;hi rend="u"&gt;action represented&lt;/hi&gt; (dramatic &lt;del&gt;Na&lt;/del&gt; mimicry) and &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt; of &lt;del&gt;a to&lt;/del&gt; connected with mere &lt;hi rend="u"&gt;shape&lt;/hi&gt; becomes accentuated in our series. ˘M˘ &lt;del&gt;C&lt;/del&gt; speaks of "tending to &lt;hi rend="u"&gt;draw&lt;/hi&gt; the work of art in imagination".&lt;/p&gt;
&lt;p&gt;&lt;del&gt;D&lt;/del&gt;˘N˘ thinks that "a beginning&lt;/p&gt;
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&lt;p&gt;of muscular imitation must be connected with lines"-- &lt;del&gt;E&lt;/del&gt; ˘O˘ has only very slight unlocalisable "feelings of direction" and these are connected with lines and planes.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;F&lt;/del&gt;&lt;del&gt;F speaks&lt;/del&gt; ˘&lt;del&gt;and G&lt;/del&gt; P and Q speak˘ of mere "inner tensions" and "innervations" and &lt;del&gt;G&lt;/del&gt; ˘Q˘ adds but "outer imitation disturbs aesthetic pleasure".&lt;/p&gt;
&lt;p&gt;&lt;del&gt;This s gro&lt;/del&gt;The &lt;del&gt;tendency&lt;/del&gt; ˘significance˘ of this group of answers is made clearer by details in other answers.&lt;/p&gt;
&lt;p&gt;˘R˘ &lt;del&gt;A says&lt;/del&gt; that there is no imitation in connexion with statues or works of art;&lt;/p&gt;
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&lt;p&gt;is affirmed very distinctly by R, S, T and V ; and W, X, Y and Z &lt;del&gt;a&lt;/del&gt; declare bodily &lt;del&gt;quiescence&lt;/del&gt; "ease" (that is no attempt at assuming the position of a statue) as most favourable to aesthetic engagement ; while yet another subject remarks that aesthetic engagement &lt;hi rend="u"&gt;is accompanied by forgetfulness of one’s own body&lt;/hi&gt;.&lt;/p&gt;
&lt;p&gt;&lt;del&gt;Who&lt;/del&gt;The groups in which I have placed these answers are intended to &lt;hi rend="u"&gt;suggest&lt;/hi&gt; my own explanation of the&lt;/p&gt;
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&lt;p&gt;of the &lt;del&gt;contradictions,&lt;/del&gt; discriminations, contradictions and incoherences contained in them.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;My own &lt;del&gt;diary&lt;/del&gt; gallery diary &lt;del&gt;(of which extracts were given in Rev. Philosophique "l’Individu devant l’oeuvre d’art"&lt;/del&gt;-- during ten years succeeding the publication of &lt;hi rend="u"&gt;Beauty&lt;/hi&gt; &lt;del&gt;of&lt;/del&gt;&lt;hi rend="u"&gt; and Ugliness&lt;/hi&gt; has made this meaning &lt;del&gt;clear&lt;/del&gt; ˘&lt;del&gt;cle&lt;/del&gt; clear˘ to me. This diary (for large extracts of which I refer to my essay : L’individu devant l’œuvre d’art – Revue Phil. 1905, 1, 2) &lt;del&gt;em&lt;/del&gt; give &lt;del&gt;in&lt;/del&gt; overwhelming proofs that, &lt;del&gt;when&lt;/del&gt; in dealing&lt;/p&gt;
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&lt;p&gt;with "Innere Nachahmung"-- &lt;del&gt;(and er Prof Groos, and&lt;/del&gt; we are dealing with two &lt;del&gt;different&lt;/del&gt; phenomena, &lt;del&gt;often&lt;/del&gt; somethimes connected and intermeshed but frequently in violent contradiction, but which other aestheticians (Prof. Groos, Mr Berenson and even Prof. Lipps &lt;del&gt;in part of&lt;/del&gt; &lt;del&gt;those parts of his Aesthetik where he&lt;/del&gt; when he passes beyond the limits of his "Raum-aesthetik) have &lt;del&gt;s&lt;/del&gt; usually mixed up together, and which some of the vocabulary of "Beauty and Ugliness"&lt;/p&gt;
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&lt;p&gt;was not &lt;del&gt;co&lt;/del&gt; calculated to discriminate  as it ought to have done ˘clearly˘. For the entries in my diary show that, as I myself answered to the questionnaire, it is 1° only statues and pictures &lt;del&gt;which are&lt;/del&gt; lacking definiteness and harmony of lines owing to their being &lt;del&gt;in&lt;/del&gt; by inferior artists or to having been &lt;del&gt;st&lt;/del&gt; &lt;del&gt;badly restored&lt;/del&gt; &lt;del&gt;distor&lt;/del&gt; badly restored, which provoke in my own case any vivid realisation, such as might provoke incipient imitation of the action which they are&lt;/p&gt;
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&lt;p&gt;intended to convey and 2do that it is only on days when aesthetic &lt;del&gt;atten&lt;/del&gt; engagement is difficult and the attention easily diverted &lt;del&gt;to&lt;/del&gt; by the presence of real people, that such realisation of the represented action becomes dominant &lt;del&gt;and&lt;/del&gt; to the amount of an obsession.&lt;/p&gt;
&lt;p&gt;The &lt;del&gt;attention&lt;/del&gt; explanation of this curious fact, verified in my own case during several years and verified also by my pupil Dr Maria Krebs-Waser, &lt;del&gt;is, I think as follows.&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;con &lt;/del&gt;agrees with the testimony of the questionnaire answers and explains the apparent contradiction &lt;del&gt;the&lt;/del&gt; of &lt;del&gt;some&lt;/del&gt; persons speaking of &lt;hi rend="u"&gt;non-imitation&lt;/hi&gt; positions being the most propitious to &lt;del&gt;w&lt;/del&gt; artistic engagement, others expressly stating that imitative &lt;del&gt;tensions&lt;/del&gt; ˘sensations˘ are called forth only in response to works of art being lifelike, &lt;del&gt;nay&lt;/del&gt; that &lt;hi rend="u"&gt;imitative&lt;/hi&gt; ˘sensations˘ are called forth mostly in &lt;hi rend="u"&gt;remembering&lt;/hi&gt; or &lt;hi rend="u"&gt;describing&lt;/hi&gt;, &lt;del&gt;nay&lt;/del&gt; that imitative sensations &lt;del&gt;have no favourable&lt;/del&gt; do not favour aesthetic enjoyment,&lt;/p&gt;
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&lt;p&gt;and finally that, as one of the interrogated persons puts it, aesthetic engagement makes one forget one’s own body.&lt;/p&gt;
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&lt;p&gt;that one of the subjects "tends to draw &lt;hi rend="u"&gt;in imagination&lt;/hi&gt; the work of art before him"--&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;Now it is with this&lt;/del&gt;&lt;del&gt;This following muscular&lt;/del&gt; These muscular sensations provoked by the sight of the lines &amp;amp; planes, the mere &lt;hi rend="u"&gt;shapes&lt;/hi&gt; contained in or constituing a work of art, are of a different nature from the muscular sensations provoked by the realisation of a &lt;hi rend="u"&gt;gesture or action&lt;/hi&gt; which those lines &amp;amp; planes, those mere &lt;hi rend="u"&gt;shapes&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;suggest to our mind, that is to say, to our stored up experience. And they are, though somethimes connected, on the whole opposed to one another ; For an action or gesture &lt;del&gt;is a series&lt;/del&gt; requires &lt;del&gt;a s&lt;/del&gt; change or a series of changes of visible shape (as is proved by the cinematograph) and the thought, &lt;hi rend="u"&gt;the realisation&lt;/hi&gt; in ourselves through muscular sensations, of such &lt;del&gt;a&lt;/del&gt; alterations of shape must necessarily &lt;del&gt;disturb the&lt;/del&gt; divert the attention from the thorough contemplation&lt;/p&gt;
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&lt;p&gt;of the unchanging relations of lines &amp;amp; planes constituting a definite visible shape. We may indeed (and often do) think in rapid alternation, of the aspect which a picture or statue presents and of the aspects which would be presented &lt;del&gt;by&lt;/del&gt; if the action or gesture suggested were carried out, but the one process cannot be dwelt upon without checking the other. Thus, if we &lt;del&gt;re&lt;/del&gt; think of the horse of Marcus Aurelius as really walking, if we&lt;/p&gt;
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&lt;p&gt;think (and still more, bodily &lt;hi rend="u"&gt;feel&lt;/hi&gt;) the next positions of the horse’s legs and the rider’s &lt;del&gt;hand&lt;/del&gt; arm, we are diverted from the full realisation of the interplay of lines &lt;del&gt;formed by the&lt;/del&gt; and planes constituting the shape of the horse &amp;amp; rider &lt;hi rend="u"&gt;as they are&lt;/hi&gt; ; and vice versa, if we are absorbed in &lt;hi rend="u"&gt;following&lt;/hi&gt; (I use the verb purposely, meaning thereby that our attention takes time to pass from point to point) this interplay of lines &amp;amp; planes, then the&lt;/p&gt;
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&lt;p&gt;realisation of what action is intended to the suggested, &lt;del&gt;what&lt;/del&gt; or in other words the imaginary going on to the next moments of that action, is &lt;del&gt;by&lt;/del&gt; in so far impeded. I have given in the Rev. Phil. numerous extracts from my gallery diaries, &lt;del&gt;showing how&lt;/del&gt; recording 1° my ˘frequent˘ difficulty  &lt;del&gt;in (&lt;/del&gt; in deciding whether a good antique is &lt;hi rend="u"&gt;walking&lt;/hi&gt; or standing still (&lt;del&gt;if&lt;/del&gt; compare Taine’s remark that an antique &lt;hi rend="u"&gt;does&lt;/hi&gt; nothing, but merely exists beautifully) 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; the &lt;del&gt;annoya&lt;/del&gt; amazing&lt;/p&gt;
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&lt;p&gt;emphasis or &lt;hi rend="u"&gt;suddenness&lt;/hi&gt; of the gesture of painted or sculptured figures whose lines do not combine into a sufficiently unified pattern &lt;del&gt;(whence the&lt;/del&gt; so that &lt;del&gt;we&lt;/del&gt; [I] get a disagreeable feeling-- "There he is still at that ! Why does’nt [doesn’t] he do something else" due to my &lt;del&gt;attention&lt;/del&gt; motor imagination being first excited &lt;del&gt;by&lt;/del&gt; and then frustrated. (compare the common belief, formulated by Lessing, that &lt;del&gt;xx&lt;/del&gt; painting and sculpture should not take sudden, transient&lt;/p&gt;
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&lt;p&gt;or violent movements for &lt;del&gt;a&lt;/del&gt; this subject, a view contradicted by the Laocoon itself, which &lt;hi rend="u"&gt;represents&lt;/hi&gt; movement &lt;del&gt;bot&lt;/del&gt; as sudden, transient and violent as one can choose, but does so in a particularly elaborate pattern which &lt;del&gt;the&lt;/del&gt; forces the attention to dwell &lt;del&gt;and&lt;/del&gt; upon and return to the same points, thus producing a very restful aesthetic impression).&lt;/p&gt;
&lt;p&gt;I have insisted at great length upon this difference between ˘the˘ motor &lt;del&gt;con&lt;/del&gt; ideas (&lt;del&gt;Lipps&lt;/del&gt;) (Einfühlung) and muscular tensions (Innere Nachahmung) provoked by&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;the &lt;/del&gt;1°/ the suggestion of &lt;del&gt;change, of locomoti&lt;/del&gt; locomotion or change of position inherent to all objective movement in &lt;hi rend="u"&gt;represented&lt;/hi&gt; things and 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; the suggestion of &lt;del&gt;dynamic&lt;/del&gt; ˘motor˘, &lt;del&gt;cond&lt;/del&gt; of dynamic conditions accompanying the aperception of motionless shapes and due to &lt;hi rend="u"&gt;our attention moving&lt;/hi&gt; across them in the acts of measurement &amp;amp; comparison and to our tendency to &lt;del&gt;att&lt;/del&gt; attribute to what we see in the modes of our unlocalised activity of seeing. In other words I have insisted on the difference &lt;del&gt;between&lt;/del&gt; (which&lt;/p&gt;
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&lt;p&gt;the answer to my questionnaire as well as my personal experience reveal) between &lt;hi rend="u"&gt;dramatic&lt;/hi&gt; mimicry and that process which &lt;del&gt;was&lt;/del&gt; most unluckily called mimicry of shape and pattern in the essay on Beauty and Ugliness ; and I have done so, &lt;del&gt;first&lt;/del&gt; because this latter is the only sort of &lt;del&gt;Nach&lt;/del&gt; &lt;hi rend="u"&gt;Innere Nachahmung&lt;/hi&gt; &lt;del&gt;implied&lt;/del&gt; ˘referred to˘ in that essay, and also because the failure to see the difference between the two processes has not only &lt;del&gt;prevented&lt;/del&gt; diverted aestheticians from the &lt;hi rend="u"&gt;central&lt;/hi&gt; problem of aesthetics, namely&lt;/p&gt;
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&lt;p&gt;the problem why some shapes (independent of what they represent) are liked &amp;amp; called &lt;hi rend="u"&gt;beautiful&lt;/hi&gt; &amp;amp; other shapes disliked &amp;amp; called &lt;hi rend="u"&gt;ugly&lt;/hi&gt; ; but has also contributed to confuse this central aesthetic problem with the subsidiary problem how shapes can be made most representative &lt;del&gt;and&lt;/del&gt; ˘or˘ suggestive of &lt;del&gt;xxx being&lt;/del&gt; things or actions extrinsic to themselves, and thus led speculation to erroneous explanation of the &lt;hi rend="u"&gt;vitalising&lt;/hi&gt; or "life-enhancing" powers of artistic form. I shall illustrate this confusion by reference&lt;/p&gt;
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&lt;p&gt;to the writings of Mr B. Berenson, &lt;del&gt;because&lt;/del&gt; choosing them rather than others, &lt;del&gt;not merely&lt;/del&gt; because, besides possessing aesthetic experience and acumen incomparable, superior to that of nearly every writer on the subject and hence speaking with far greater authority than even the most distinguished psychologists, Mr Berenson’s &lt;del&gt;is one of the&lt;/del&gt; works &lt;del&gt;are among the&lt;/del&gt; contain some &lt;del&gt;of&lt;/del&gt; the &lt;hi rend="u"&gt;earliest&lt;/hi&gt;, most &lt;del&gt;original and therefore&lt;/del&gt; independent and therefore genuine and important testimony to the existence of motor processes &lt;del&gt;a&lt;/del&gt; in connexion with aesthetic&lt;/p&gt;
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&lt;p&gt;phenomena ; his "Florentine Painters" in which he first put forward &lt;del&gt;his t&lt;/del&gt; his theory of what &lt;del&gt;=&lt;/del&gt; he calls "Tactile values" having them &lt;del&gt;published&lt;/del&gt; &lt;hi rend="u"&gt;written&lt;/hi&gt; most certainly without knowledge of my own essay, &lt;del&gt;which&lt;/del&gt; [was] also written without knowledge of his theories, on &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, and also, to all appearance, without knowledge of the &lt;del&gt;id&lt;/del&gt; &lt;del&gt;si&lt;/del&gt; cognate ideas of Mssrs Lipps and Groos. Indeed, I &lt;del&gt;am&lt;/del&gt; have chosen in Mr Berenson’s work as &lt;del&gt;the&lt;/del&gt; an illustration of the pratically universal&lt;/p&gt;
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&lt;p&gt;confusion between the two kinds of Innere Nachahmung (and indeed of &lt;del&gt;E&lt;/del&gt; Lippsian Einfühlung also) because it enables me to add, without &lt;del&gt;further&lt;/del&gt; interrupting my exposition, Mr Berenson’s extremely valuable authoring to &lt;del&gt;whatever testimony mo&lt;/del&gt; the other evidence ˘first hand˘ (that xxx of Lipps, Groos, C. Anstruther Thomson &amp;amp; myself and the subject of my Questionnaire) to the existence either of &lt;hi rend="u"&gt;Einfülhung&lt;/hi&gt; or of &lt;hi rend="u"&gt;Innere Nachahmung&lt;/hi&gt;.*&lt;/p&gt;
&lt;p&gt;         ___________________________________&lt;/p&gt;
&lt;p&gt;* Add. Other authorities : Wölfflin, Müller-Freienfels, Münsterberg, Lalo.&lt;/p&gt;
&lt;p&gt;Leave space&lt;/p&gt;
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&lt;p&gt;I must premise, &lt;del&gt;be&lt;/del&gt; that in the following quotations the word  &lt;hi rend="u"&gt;tactile&lt;/hi&gt; ˘sense˘ appears to be &lt;del&gt;used&lt;/del&gt; employed with the meaning of &lt;hi rend="u"&gt;muscular sense&lt;/hi&gt;, and, even occasionally, &lt;del&gt;as&lt;/del&gt; in connexion with realisation of the third dimension, with the meaning of sense of &lt;hi rend="u"&gt;locomotion&lt;/hi&gt; of the whole or part of the body.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;hi rend="u"&gt;Tuscan Painters&lt;/hi&gt;p 9.&lt;/p&gt;
&lt;p&gt;"The stimulation of our tactile imagination awakens our consciousness of the importance of the tactile sense in our physical and mental functioning, and thus again, by making us feel better provided for life than we are aware of being, gives us a heightened&lt;/p&gt;
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&lt;p&gt;sense of capacity".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;p 14. Our eyes &lt;del&gt;h&lt;/del&gt; scarcely have had time to light on it (a madonna by Giotto) before we realise it completely, the throne occupying a real space, the virgin satisfactorily seated upon it etc… &lt;hi rend="u"&gt;Our tactile imagination is put to play immediately; our palms and fingers accompanying our eyes more quickly than in presence of&lt;/hi&gt; real objects, the sensations varying constantly with the various projections represented as of face, torso, knees etc.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;p. 9. I never see them (Masaccio’s paintings) without the strongest stimulation of my tactile consciousness.&lt;/p&gt;
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&lt;p&gt;I feel that I could touch every figure, that it would yield to a definite resistance. that I should have to expend thus much effort to displace it, that I could walk around it".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;p 35. The essential in painting … is the rendering of tactile values (see above for definition of these, including the suggestion of walking round and pushing &lt;del&gt;aw&lt;/del&gt; away, that is to say suggestions of locomotion and of muscular effort, such as "finger&lt;del&gt;s&lt;/del&gt; and palm&lt;del&gt;s&lt;/del&gt;" sensations cannot represent except &lt;hi rend="u"&gt;symbolically&lt;/hi&gt;) of the forms represented, because by this means, and this&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;only&lt;/del&gt;alone, can art make us realise forms better than we do in life".&lt;/p&gt;
&lt;p&gt;p. 84. &lt;hi rend="u"&gt;We realise objects when we perfectly translate them into terms of our own states, of our own feelings&lt;/hi&gt; … because we keenly realise the movement of a railway .. speak of it as going or running, instead of rolling on its wheels… The more we endow it (an object) with human attributes, the less we merely know, the more we realise it, the more does it approach the work of art".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;p 86. (Cf. Wölfflin) &lt;del&gt;For here,&lt;/del&gt; speaking of &lt;del&gt;Michelangelo&lt;/del&gt; ˘the nude˘ "For&lt;/p&gt;
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&lt;p&gt;here alone can we watch those tautnesses of muscles and those stretchings and relaxings and ripplings of &lt;hi rend="u"&gt;skin which translated into similar  strains in our own persons, make us fully realise movement&lt;/hi&gt;".&lt;/p&gt;
&lt;p&gt;p. 69 et seq… &lt;del&gt;Those who care&lt;/del&gt; Those &lt;del&gt;who&lt;/del&gt; of us who care for nothing &lt;hi rend="u"&gt;in the work of art but what it represents&lt;/hi&gt; are either powerfully attracted or repelled by his (Botticelli’s) unhackneyed types and quivering feeling ; but if we are such as have &lt;hi rend="u"&gt;an imagination of touch and movement&lt;/hi&gt; that is&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;easily&lt;/del&gt;˘easy to˘ stimulate&lt;del&gt;d&lt;/del&gt;, we feel in Botticelli a pleasure that few, if any, other artists can give us… Imagine shapes (of hair) having the &lt;hi rend="u"&gt;supreme life of line, you may see in the contours of licking flames&lt;/hi&gt;.&lt;del&gt;"&lt;/del&gt; &lt;del&gt;and yet&lt;/del&gt; Ibid take the lines that render the movement of the tossing hair, the fluttering draperies and the dancing waves … &lt;hi rend="u"&gt;take these lines alone with all their power of stimulating our imagination of movement&lt;/hi&gt;, and what do we have ? &lt;hi rend="u"&gt;Pure values of movement abstracted unconnected with any &lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;representation whatever&lt;/hi&gt; … Imagine an art made up entirely of these &lt;hi rend="u"&gt;quintessences of movement values&lt;/hi&gt; … Tactile &lt;del&gt;w&lt;/del&gt; values were translated (in Botticelli) into &lt;hi rend="u"&gt;values of movement&lt;/hi&gt; and, for the same reason and to prevent the drawing of the &lt;hi rend="u"&gt;eye inward&lt;/hi&gt;, to prevent it and &lt;hi rend="u"&gt;to devote itself to the rythm [rhythm] of the line, the  backgrounds were either entirely suppressed&lt;/hi&gt; etc.&lt;/p&gt;
&lt;p&gt;In these quotations it seems to me that there are allusions to two wholly different&lt;/p&gt;
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&lt;p&gt;things, namely 1° to visible shapes which suggest objective movements of the represented objects and &lt;del&gt;f moi&lt;/del&gt; &lt;del&gt;2&lt;/del&gt;&lt;del&gt;&lt;hi rend="sup"&gt;do&lt;/hi&gt;&lt;/del&gt;&lt;del&gt; to visible shapes which are made up of&lt;/del&gt; &lt;del&gt;in the&lt;/del&gt; and call forth &lt;del&gt;sensati&lt;/del&gt; in the spectator feelings or "sensations" of strain &lt;del&gt;connected with&lt;/del&gt; such as he would have if he made those movements himself ; and 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; visible shapes made up of lines and combinations of line which awaken in the spectator feelings of  "&lt;hi rend="u"&gt;movement abstracted, unconnected with any representation whatever"&lt;/hi&gt;  &amp;amp; movement to which, in the&lt;/p&gt;
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&lt;p&gt;next sentence, &lt;del&gt;we are tol&lt;/del&gt; Mr Berenson attributes the formal, the aesthetic quality of &lt;hi rend="u"&gt;rhythm of&lt;/hi&gt; &lt;del&gt;lines&lt;/del&gt;&lt;hi rend="u"&gt; the line&lt;/hi&gt;. Nay ; the &lt;hi rend="u"&gt;abstract&lt;/hi&gt;, &lt;del&gt;qual&lt;/del&gt; &lt;hi rend="u"&gt;non-representative quality of this movement&lt;/hi&gt; (which &lt;del&gt;dexxxx&lt;/del&gt; produces &lt;hi rend="u"&gt;rhythm of the line&lt;/hi&gt;) is made &lt;del&gt;further&lt;/del&gt; made ≠ more unequivocal by the remark that &lt;del&gt;for better dive&lt;/del&gt; in order to enable us &lt;hi rend="u"&gt;to devote ourselves to the rhythm of the line the backgrounds were&lt;/hi&gt; (either) &lt;hi rend="u"&gt;entirely suppressed&lt;/hi&gt;, that is to say that the imagination of &lt;hi rend="u"&gt;movement of the represented thing in real&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;space was refused a great part of the third dimension without which the movement of &lt;del&gt;real, i.e.&lt;/del&gt; &lt;hi rend="u"&gt;represented&lt;/hi&gt; objects, &lt;del&gt;and their&lt;/del&gt; cannot be thoroughly realised. This &lt;del&gt;passing&lt;/del&gt; ˘transition˘ from 1° the interest in represented or suggested movement (i.e. of movement implying body and change in that body’s aspect) to 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; interest in the &lt;hi rend="u"&gt;movement&lt;/hi&gt; (including of course rythm [rhythm]) attributed by us to motionless and bodiless &lt;del&gt;shapes&lt;/del&gt; lines and shapes, is &lt;del&gt;dissimu&lt;/del&gt; hidden under the expression "translating tactile values into values of movements".&lt;/p&gt;
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&lt;p&gt;I will add one more quotation which, while constituting an additonal repetition of so &lt;del&gt;great a&lt;/del&gt;&lt;del&gt;experienced an&lt;/del&gt;&lt;del&gt;so&lt;/del&gt; experienced an aesthetician’s testimony &lt;del&gt;to&lt;/del&gt; in favour of &lt;del&gt;Innere N&lt;/del&gt; motor processes and Innere Nachahmung, will serve to show how this comparison between the &lt;del&gt;s&lt;/del&gt; motor accompaniments of &lt;del&gt;form&lt;/del&gt; &lt;del&gt;sh&lt;/del&gt; &lt;del&gt;form&lt;/del&gt; ˘aesthetic˘ form aperception and the motor accompaniments of the mimetic sympathy with &lt;del&gt;represen&lt;/del&gt; the actions of represented &lt;del&gt;thin&lt;/del&gt; beings has forced Mr Berenson into explaining aesthetic pleasure as due to &lt;del&gt;eas&lt;/del&gt; &lt;del&gt;easy&lt;/del&gt;, facilitated &lt;del&gt;suggesti&lt;/del&gt; thought&lt;/p&gt;
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&lt;p&gt;about &lt;del&gt;qualities which are xxx&lt;/del&gt;  circumstances connected with the represented object as distinguished from the visible form &lt;del&gt;in whi&lt;/del&gt; by which &lt;del&gt;it is&lt;/del&gt; it is represented (or suggested) and has thus led him to overlook or evade what I call the central aesthetic problem, viz., the problem of the preference and antipathy inspired by &lt;hi rend="u"&gt;visible&lt;/hi&gt; shapes &lt;del&gt;ap&lt;/del&gt; entirely apart from any object or action which they may (and in the case of &lt;del&gt;pure&lt;/del&gt; ˘decorative˘ pattern &amp;amp; of architecture) or&lt;/p&gt;
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&lt;p&gt;may not suggest ; the problem dealt with in Lipps’ Raum-aesthetik, and to which he has applied the hypothesis of Einfühlung.&lt;/p&gt;
&lt;p&gt;"I see" writes Mr B (Tuscan Painters p. 50) … two men wrestling ; but unless my retinal impressions are immediately &lt;hi rend="u"&gt;translated into images of strain and pressure in my muscles&lt;/hi&gt;, of resistance to my weight of touch all over my body, it means nothing to me in terms of vivid experience.. although a wrestling match may in fact, contain&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;many genuinely artistic elements&lt;/hi&gt;&lt;del&gt;(?)&lt;/del&gt; our engagement of it can never be quite artistic ; we are prevented from completely realising it not only by the dramatic interest in the game, but also by the succession of movements being too rapid for us to realise each completely, and too fatiguing, if realisable. Now if a way could be formed of conveying to us the realisation of movement without the confusion and the fatigue of the actuality, we should be getting out of the wrestlers more than they themselves can give us, the heightening of vitality&lt;/p&gt;
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&lt;p&gt;which comes to us whenever we keenly realise life such as &lt;del&gt;it&lt;/del&gt; the actuality would give us, plus the greater effectiveness of the heightening brought about by the clearer, intenser and less fatiguing realisation. This is precisely what the artist who succeeded in &lt;hi rend="u"&gt;representing movements achieves ; making as realise it as we never can actually, he gives us a heightened sense of capacity&lt;/hi&gt; … In words already familiar, he extracts the significance of movement, just as, in&lt;/p&gt;
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&lt;p&gt;rendering tactile values, the artist extracts the corporeal significance of objects. ... &lt;del&gt;N&lt;/del&gt;&lt;del&gt;The&lt;/del&gt; What a pleasure to be able &lt;hi rend="u"&gt;to realise in my own muscles, in my own chest, with my own arms &amp;amp; legs&lt;/hi&gt; the life that is in him as he is making his supreme effort, &lt;del&gt;et&lt;/del&gt; … how &lt;hi rend="u"&gt;after the contest&lt;/hi&gt; his muscles will relax and rest trickle &lt;del&gt;a&lt;/del&gt; like a refreshing stream through his nerves".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;The f&lt;/del&gt;&lt;del&gt;Mr Berenson here ascribes ascribes our pleasure to the to a facilitated realisation.&lt;/del&gt; In the same&lt;/p&gt;
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&lt;p&gt;way that Hildebrand and his follower Cornelius identify beauty of form with the easy and satisfactory suggestion of corporeal qualities and &lt;del&gt;sp&lt;/del&gt; locomotor possibilities of object represented (what Mr B. calls "extracting the corporal significance") so Mr Berenson here explains our pleasure in an arrangement of visible shapes (Phaisto’s Herakles and Antaeus) by the increased facility with which our attention wanders off from those visible shapes to the&lt;/p&gt;
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&lt;p&gt;realisation of a dramatic action and of successive moments (even the rest after the contest !) which must present totally different visible shapes to our aperception, much as if we identified the pleasure afforded by a picture with its being the starting point for a cinematographical performance.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I hope by this time to have distinguished, &lt;del&gt;as even so acute a critic as Prof. Groos has failed&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;between such dramatic mimicry as this and those incipient or actualised movements to which my collaborator and myself referred whenever throughout &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, we applied the fatally misleading word &lt;hi rend="u"&gt;miming&lt;/hi&gt; to the "lifting up" and "pressing down" ; the "gripping of the ground", the "balancing" of symmetrical sides of the mere shapes of pottery, furniture, architecture and the accepted from common usage scarcely less misleading word &lt;hi rend="u"&gt;following&lt;/hi&gt; as applied to the "movements of lines" in pictures. &lt;del&gt;The distinction appears to have&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;The difference is difficult to keep steadily before one, as is shown by even so acute an analyst as Prof. Groos, and I am afraid that at the time of writing &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; there was an occasional confusion even in my mind on the subject of the "miming of the gesture" of a statue, in consequence of the experiments of my collaborator having shown that "we cannot satisfactorily focus a stooping figure like the Medicean Venus if we stand before it bolt upright and with tense muscles, nor a very&lt;/p&gt;
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&lt;p&gt;erect &amp;amp; braced figure like the Apoxyomnios if we stand before it humped up and with slackened muscles. &lt;del&gt;Wishing to clear up this definitively, I have, previous to beginning this article, asked my collaborator C. Anstruther Thomson&lt;/del&gt; The observations on myself contained in my Gallery diary have convinced me (as I have already mentioned here &amp;amp; published in the Rev. Phil) that the realisation, whether or not accompanied by bodily tension, of the &lt;del&gt;human&lt;/del&gt; action or gesture of the human being&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;erect&lt;/del&gt;represented in a work of art, is in inverse ratio to the realisation, accompanied or not by &lt;del&gt;si&lt;/del&gt; bodily tension, of the &lt;hi rend="u"&gt;movements&lt;/hi&gt; attributed to the lines and shapes of that work of art, &lt;del&gt;and that the&lt;/del&gt; and that &lt;del&gt;the&lt;/del&gt; what I &lt;del&gt;sh&lt;/del&gt; must call the translation &lt;del&gt;(&lt;/del&gt; of the visible shapes into terms of &lt;del&gt;f&lt;/del&gt; human locomotion, gesticulation or such &lt;del&gt;successive&lt;/del&gt; proceedings as produce (compare the cinematograph, a succession of different visible aspects) is in my case frequent only &lt;del&gt;when&lt;/del&gt; when there is (from artistic&lt;/p&gt;
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&lt;p&gt;inferiority[,] mutilation or &lt;del&gt;insufficiency&lt;/del&gt; or mistaken restoration on antiques) a lack of defined and unified "movement of lines", or else before I have had time to be absorbed in such a scheme &lt;del&gt;of&lt;/del&gt; and quality of &lt;hi rend="u"&gt;line movement&lt;/hi&gt;, and am still busy with the initial question which occurs in every ˘new˘ act of visual aperception : what is &lt;del&gt;this&lt;/del&gt; the thing of which I now see the shape ? Or what ˘thing˘ does this shape represent, ˘or˘ suggest &lt;del&gt;or res&lt;/del&gt; by resemblance ?&lt;/p&gt;
&lt;p&gt;It will be  remembered that some of the answers ˘to˘ &lt;del&gt;of&lt;/del&gt; my questionnaire spoke tendencies to &lt;del&gt;put&lt;/del&gt; assume a tense or slack&lt;/p&gt;
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&lt;p&gt;attitude according as the "pose" of the statue was &lt;del&gt;te&lt;/del&gt; braced or slack, and apart from any tendency to mimic its represented action. This observation has been confirmed to me &lt;del&gt;by one of the&lt;/del&gt; in confirmation by one of the most &lt;del&gt;inter&lt;/del&gt; important writers on the laws of sculpture. And it is to such conformity of our own bodily tensions &lt;del&gt;with&lt;/del&gt; (whether ˘definetely˘ localised or not) with the dynamic suggestions of a statue’s shape, that my collaborator and myself &lt;del&gt;now wish to i&lt;/del&gt; now limit the  remark (Beauty and&lt;/p&gt;
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&lt;p&gt;Ugliness p. 677) &lt;del&gt;concerning&lt;/del&gt; "When we &lt;hi rend="u"&gt;adjust&lt;/hi&gt; our muscles in imitation of the tenseness or slackness of the statue’s attitude, the statue becomes a reality to us"--&lt;/p&gt;
&lt;p&gt;In order to remove any ambiguity working in &lt;del&gt;this&lt;/del&gt; these words, &lt;del&gt;I have&lt;/del&gt; or suggested by the perhaps defective wording of "Beauty and Ugliness"-- I have obtained from my collaborator C. Anstruther Thomson a summing up of the experimental &lt;del&gt;observations&lt;/del&gt; self observation made by her previous &lt;del&gt;to&lt;/del&gt; and subsequent to the writing of our print essay&lt;del&gt;. The&lt;/del&gt; and put in the shape of questions to others.&lt;/p&gt;
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&lt;p&gt;              QUESTIONS BY C. ANSTRUTHER THOMSON&lt;/p&gt;
&lt;p&gt;1. When you look at a good work of Art, do you merely see it with your eyes &amp;amp; your mind ? Or are you conscious, after you have looked at it for a few moments, of a wish to &lt;hi rend="u"&gt;take it in&lt;/hi&gt; by following its its shape by adjustments of your body ?&lt;/p&gt;
&lt;p&gt;2. If the latter, what adjustments of your body are you conscious of making ?&lt;/p&gt;
&lt;p&gt;3. If you sit down to look at a work of Art do you find that you see it less satisfactorily than when you stand up ?&lt;/p&gt;
&lt;p&gt;4. If you prefer to stand up to look at the statue or monument are you conscious of shifting your weight from one foot to the other while you look at the thing ? Or do you stand firmly planted on both feet all the time ?&lt;/p&gt;
&lt;p&gt;5. Inside any of the great ancient churches and cathedrals do you feel the ground as firmly under your feet as you felt it outside?&lt;/p&gt;
&lt;p&gt;6. Do you find any difference between your way of breathing &lt;hi rend="u"&gt;inside&lt;/hi&gt; the church and outside it?&lt;/p&gt;
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&lt;p&gt;5. Do you feel the movements of an antique statue as human movement that you want to copy in your own body or as some other sort of movement ?&lt;/p&gt;
&lt;p&gt;6. If the latter what sort of movement ?&lt;/p&gt;
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&lt;div&gt;1. When you look at a good work of Art do you merely see it with your eye &amp;amp; your mind? or are you conscious, after you have looked at it for a few moments, of a wish to take it in by following its its shape by adjustments of your body?&lt;/div&gt;
&lt;div&gt;2&lt;/div&gt;
&lt;div&gt;If the latter, what adjustments of your body are you conscious of making?&lt;/div&gt;
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&lt;div&gt;Do you feel the movements of an antique statue as human movement that you want to copy in your own body or as some other sort of movement?&lt;/div&gt;
&lt;div&gt;&lt;del rend="double" class="double del null"/&gt;&lt;del rend="double" class="double del null"&gt;8&lt;/del&gt; 6&lt;/div&gt;
&lt;div&gt;If the latter what sort of movement?&lt;/div&gt;
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&lt;div&gt;----------------&lt;/div&gt;
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&lt;p&gt;&lt;del&gt;Th&lt;/del&gt; &lt;del&gt;And&lt;/del&gt;&lt;/p&gt;
&lt;p&gt;These words leave, I think, no doubt, as to the nature of the motor processes and muscular sensations of which my collaborator spoke in "Beauty and Ugliness"-- They are of the nature not of dramatic mimicry but of what, &lt;del&gt;m&lt;/del&gt; &lt;del&gt;t&lt;/del&gt; on its purely psychological side, Prof. Lipps has described in his &lt;hi rend="u"&gt;Raum Aesthetic&lt;/hi&gt; under the name of Aesthetische Einfühlung or mechanical (dynamical) interpretation of form. Whether such motor processes &lt;del&gt;are&lt;/del&gt; ˘can˘ really be detected in our aesthetic experience, whether such muscular sensations&lt;/p&gt;
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&lt;p&gt;accidentally come up to the surface of our consciousness during aesthetic aperception, or can be detected in its obscure  undercurrents by trained self observation, is a question upon which answers to these questions would shed a very necessary light. Meanwhile I am able, &lt;del&gt;by the&lt;/del&gt; thanks to the &lt;del&gt;admirable&lt;/del&gt; generous helpfulness of Prof. Karl Groos, to lay before my readers the personal evidence of the founder of the &lt;del&gt;N&lt;/del&gt; &lt;hi rend="u"&gt;Innere Nachahmung&lt;/hi&gt;&lt;del&gt;s&lt;/del&gt;&lt;hi rend="u"&gt; theory&lt;/hi&gt; himself. &lt;del&gt;The follow&lt;/del&gt; Here are the questions put by me to Prof. Groos&lt;del&gt;, and&lt;/del&gt; with his admirably clear answers.&lt;/p&gt;
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&lt;p rend="i u"&gt;Questions as submitted by me to Prof. K. Groos&lt;/p&gt;
&lt;p&gt;1°/ Is Innere &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt; in your experience always or ever accompanied by (a) &lt;hi rend="u"&gt;sensations localised&lt;/hi&gt; in your body ? or by (B) actual objective changes of position, from one foot to another, or by moving hands, or balancing ? II°/ Or is &lt;hi rend="u"&gt;Innere Nachahmung&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;a statue; or B. does &lt;del&gt;is&lt;/del&gt; the feeling of activity (localisable or not) follow rather the &lt;hi rend="u"&gt;lines&lt;/hi&gt;, the &lt;hi rend="u"&gt;architectural shape&lt;/hi&gt; of a figure or a group ?&lt;/p&gt;
&lt;p&gt;4 Have you ever observed whether you feel the &lt;hi rend="u"&gt;action&lt;/hi&gt; (the dramatic action, the action represented)&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;more in inferior or badly restoral statues or in "masterpieces" ?&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I am now speaking not of &lt;hi rend="u"&gt;following lines&lt;/hi&gt; and feeling their dynamic quality, but of a mimicry of the action which a figure is supposed to be doing. Do you see a &lt;hi rend="u"&gt;sitting&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;figure better when you yourself are seated, a figure drawing itself up better when you yourself draw yourself up ? Does the sight of the &lt;hi rend="u"&gt;Dying Gladiator&lt;/hi&gt; give you any wish not to stand erect ?&lt;/p&gt;
&lt;p&gt; It is quite certain that there are persons with whom the &lt;hi rend="u"&gt;motor participation&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;                     Answer &lt;del&gt;K. Groos&lt;/del&gt;&lt;hi rend="u"&gt; by Prof. Groos&lt;/hi&gt;&lt;/p&gt;
&lt;p&gt;1. "Inner sensations localised in my body" and principally &lt;del&gt;in&lt;/del&gt; of the nature of movements of the &lt;hi rend="u"&gt;eyes&lt;/hi&gt; and &lt;hi rend="u"&gt;breathing&lt;/hi&gt;. &lt;del&gt;Occas&lt;/del&gt; Possibly also innervation of the muscles of face and nape of neck. Sometimes also of the muscles of upper body particulary of the rumpf (torso ?) Legs only when there is musical measure (Takt).&lt;/p&gt;
&lt;p&gt;2. I am unable to say &lt;del&gt;x&lt;/del&gt; to what extent all this is "externally manifested". At any rate my &lt;hi rend="u"&gt;inner&lt;/hi&gt; motor &lt;del&gt;life&lt;/del&gt; &lt;hi rend="u"&gt;miterleben&lt;/hi&gt; (with-living, participation) is &lt;hi rend="u"&gt;never&lt;/hi&gt; "purely mental". In other words-- I believe that in my case there is&lt;/p&gt;
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&lt;p&gt;always "Kinaesthetic accompaniment".  &lt;del&gt;We&lt;/del&gt; Whenever I am "mitgerissen" (&lt;del&gt;aroused&lt;/del&gt;, "carried away" by the work of art).&lt;/p&gt;
&lt;p&gt;3 On this point compare R. Vischers "Optische Formgefühle". He confirms what I ˘have˘ said-- in N° I, that my "inner miming" so far as bodily position is concerned, &lt;del&gt;most&lt;/del&gt; &lt;del&gt;is &amp;amp;&lt;/del&gt; &lt;del&gt;mostly&lt;/del&gt; &lt;del&gt;particul&lt;/del&gt; &lt;del&gt;refers&lt;/del&gt; particulary refers to the head, neck and torso of the represented &lt;hi rend="u"&gt;figure&lt;/hi&gt; or more precisely : at this moment, when I search in my memory, it is these parts of represented figures&lt;/p&gt;
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                          <text>Document : Fonds de dotation André et Berthe Noufflard.</text>
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&lt;p&gt;which occur chiefly to me. I have no &lt;del&gt;inclination&lt;/del&gt; &lt;del&gt;x&lt;/del&gt; wish to assume the attitudes of the figures in question ; I am merely &lt;del&gt;constate&lt;/del&gt; aware that I do so with very faint indications. &lt;hi rend="u"&gt;Far more important&lt;/hi&gt; than such indications of imitation of attitude is  &lt;del&gt;m&lt;/del&gt; for me the &lt;del&gt;imitation&lt;/del&gt; accompanying &lt;del&gt;of&lt;/del&gt; or following or recreating (Nacherzingen literally &lt;hi rend="u"&gt;after=begetting&lt;/hi&gt;) of seen Forms through movements of the eyes and of the organs of &lt;hi rend="u"&gt;speech including respiration.&lt;/hi&gt; In this matter of the breathing exists in my experience the connexion between the enjoyment of  visual art and&lt;/p&gt;
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&lt;p&gt;of music. With reference to this what interests me in pictures is not the single figures but the &lt;hi rend="u"&gt;ensemble&lt;/hi&gt; of lines and general composition.   &lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;4/ The above facts explain why I cannot &lt;del&gt;corroborate&lt;/del&gt; confirm from my own experience that of C.A.T. The attitude of the Dying Gladiator does &lt;hi rend="u"&gt;not&lt;/hi&gt; &lt;del&gt;tempt&lt;/del&gt; produce, in any &lt;del&gt;analogous position&lt;/del&gt;, tendency to leave my own upright position, because I &lt;hi rend="u"&gt;mime&lt;/hi&gt; (Nachahmung) principally with the eyes and the respiration. &lt;del&gt;How&lt;/del&gt; But &lt;hi rend="u"&gt;intentional experiments&lt;/hi&gt; have shown &lt;hi rend="u"&gt;me&lt;/hi&gt; more than once that the &lt;hi rend="u"&gt;mimetic indication&lt;/hi&gt; of the represented&lt;/p&gt;
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&lt;p&gt;attitudes by means of my own body at least of my eyes and &lt;del&gt;torso&lt;/del&gt; &lt;hi rend="u"&gt;upper-body&lt;/hi&gt; &lt;del&gt;have a&lt;/del&gt; --that such &lt;hi rend="u"&gt;mimetic indication&lt;/hi&gt; tends to make aesthetic &lt;del&gt;pleasure&lt;/del&gt; enjoyment easier, so that I &lt;del&gt;am&lt;/del&gt;ˆbecomeˆ a little excited (&lt;hi rend="u"&gt;gepackt&lt;/hi&gt;, literally &lt;hi rend="u"&gt;taken hold of&lt;/hi&gt;), a thing which does not usually happen in voluntary experimentation.&lt;/p&gt;
&lt;p&gt;___________________________&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;My intense aesthetic enjoyment is rarely of the nature of &lt;hi rend="u"&gt;jubilant delight&lt;/hi&gt;. But it is not a "Cheerful Reposefulness"-- It is a &lt;hi rend="u"&gt;being-laid-hold-of&lt;/hi&gt; (Ergriffensein, &lt;hi rend="u"&gt;saisissement&lt;/hi&gt;) which partakes both of oppression and of&lt;/p&gt;
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&lt;p&gt;pathos (poignancy, melting mood). In music it is adagios which act most on me, all movements which are &lt;hi rend="u"&gt;legato&lt;/hi&gt;, still, solemn, subdued.&lt;/p&gt;
&lt;p&gt;_________________________&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I do not in the least think that all real. &lt;del&gt;Mental&lt;/del&gt; ˆemotionalˆ &lt;del&gt;or spiritual&lt;/del&gt; phenomena during aesthetic enjoyment are &lt;del&gt;he&lt;/del&gt; emotions of "miterleben" (i.e. &lt;hi rend="u"&gt;sharing the life of&lt;/hi&gt;) or of inner miming. What I &lt;del&gt;mean is that&lt;/del&gt; refer to is merely &lt;hi rend="u"&gt;particular&lt;/hi&gt; conditions, which some persons &lt;del&gt;kn&lt;/del&gt; &lt;del&gt;have&lt;/del&gt; know (not perhaps always from their own experience) and which &lt;del&gt;in my own case are&lt;/del&gt; I myself know only in &lt;hi rend="u"&gt;intense&lt;/hi&gt; and &lt;hi rend="u"&gt;uncritical&lt;/hi&gt; moments.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Such conditions become&lt;/p&gt;
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&lt;p&gt;rarer as I grow older and more reflective; &lt;del&gt;but&lt;/del&gt; they are commonest in my own case with regard to the beauties of nature"&lt;/p&gt;
&lt;p&gt;________________    _______________________&lt;/p&gt;
&lt;p&gt;Karl Groos&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;ˆa letter which Prof Groos has most kindly allowed me to publish&lt;/del&gt;ˆ&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Leaving it to other observers &amp;amp; experminenters to determine this question of facts, I shall examine &lt;del&gt;later&lt;/del&gt; what interpretations may be put upon &lt;del&gt;the&lt;/del&gt; such phenomena of "Innere Nachahmung"-- as have &lt;del&gt;already&lt;/del&gt; already been brought to light.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;But before doing so I must pass on to the &lt;del&gt;q&lt;/del&gt; third part of my subject: the question of accompaniment or resonance of aesthetic aperception of &lt;del&gt;sh&lt;/del&gt; visible shapes, in other words to that application of the&lt;/p&gt;
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&lt;p&gt;Lange James theory which attributes aesthetic emotion, pleasurable &amp;amp; the reverse, to "&lt;del&gt;an active participation&lt;/del&gt; the perception of form implying "an active participation of the most important organs of animal life, a constant alteration in vital processes requiring stringent regulation for the benefit of the total organism" (Beauty &amp;amp; Ugliness&lt;/p&gt;
&lt;p&gt;p. 545.&lt;/p&gt;
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&lt;p&gt;_________________&lt;/p&gt;
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&lt;p&gt;Miss Paget MS&lt;/p&gt;
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&lt;p&gt;I have already remarked that, owing to the defective drawing out of my &lt;hi rend="u"&gt;Questionnaire sur l’Elément Moteur&lt;/hi&gt;, the &lt;del&gt;w as&lt;/del&gt; evidence obtained on what I must call "Einfühlung as such" --namely the attribution of movement and modes of activity to motionless objects &amp;amp; shapes, lost much of its value.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;For the answers referred not merely to the question whether certain common expressions &lt;del&gt;attributing such&lt;/del&gt; like "lignes qui s’élancent"-- were taken as merely&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;conventional&lt;/hi&gt;or as corresponding to some literal reality, but also to other questions grouped under the same heading owing to their &lt;del&gt;being&lt;/del&gt; dealing with language and "metaphor", but which were really quite &lt;del&gt;separate&lt;/del&gt; ˆjudged fromˆ the point of view of an enquiry into "Einfühlung" as such. These questions were /&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;ones grouped under the same number and which, although cognate, are really quite separate: viz&lt;/del&gt;ˆFrenchˆ "Vous rendez vous compte de ce que nous entendons par sentiments de &lt;hi rend="u"&gt;bien être organique&lt;/hi&gt;, quelquefois vagues, quelquefois loalisés dans la région cardiaque et respiratoire et dans la tête (pas dans les muscles de l’oeil) lorsque vous vous trouvez en présence des tableaux et des paysages réels qui vous plaisent?" &lt;del&gt;And&lt;/del&gt; .. Quelque chose en vous même semble-t-elle répondre à ces verbes de mouvement appliqués à des objets immobiles? Et pour les états plus complexes&lt;/p&gt;
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&lt;p&gt;et déjà affectifs, rattachez vous un sens en quelque sorte littéral aux mots "une voûte qui écrase l’âme" --"les arceaux gothiques qui donnent l’essor à l’imagination" -- "une coupole sous laquelle on respire à l’aise, on se sent la poitrine gonfler" --"un paysage peint (ou effectif) qui nous fait le coeur léger, qui nous délivre du poids des soucis, qui accélère ou régularise le rythme de la vie"-- ces expressions vous semblent-elles des formes de pure convention, sans vérité intrinsèque; ou vous semblent-elles accuser des états physiologiques dont vous avez vaguement conscience&lt;/p&gt;
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&lt;p&gt;dans vos expériences esthétiques"&lt;/p&gt;
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&lt;p&gt;latter expression has proved especially misleading because it occurs in sente connexion with a statement that it is difficult to "satisfact focus satisfactorily a stooping figure like the Medicean Venus if we stand before it bolt&lt;/p&gt;
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&lt;p&gt;nature of the "metaphoric" or "Einfühlung" expressions grouped confusedly in my Questionnaire &lt;hi rend="u"&gt;ten&lt;/hi&gt; &lt;del&gt;add&lt;/del&gt; answers contain the additional information that "something in oneself allxxx" or that "there is something bodily, physiological" in the case; or that there are "dynamical sensations"&lt;/p&gt;
&lt;p&gt;But &lt;del&gt;this is&lt;/del&gt; the &lt;del&gt;Quest&lt;/del&gt; answers to &lt;del&gt;th&lt;/del&gt; my Questionnaire contain other evidence on this "Lange-James" part of the subject.&lt;/p&gt;
&lt;p&gt;To the question whether &lt;del&gt;the&lt;/del&gt; arrangements of lines &amp;amp; planes in pictures, &lt;del&gt;and&lt;/del&gt; &lt;del&gt;a othe&lt;/del&gt; in nature, &amp;amp; in &lt;del&gt;other&lt;/del&gt; architecture &lt;del&gt;&amp;amp;&lt;/del&gt; produce&lt;/p&gt;
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&lt;p&gt;organic &lt;hi rend="u"&gt;bien être&lt;/hi&gt; or &lt;hi rend="u"&gt;malaise nine&lt;/hi&gt; give no answer, &lt;hi rend="u"&gt;six&lt;/hi&gt; answer &lt;hi rend="u"&gt;no&lt;/hi&gt;, and the rest assent in various ways, &lt;hi rend="u"&gt;two&lt;/hi&gt; limiting this to natural scenery, &lt;hi rend="u"&gt;one&lt;/hi&gt; specifying particularly architecture &lt;del&gt;(b&lt;/del&gt; two speaking of a sense of organic restfulness, &lt;hi rend="u"&gt;one&lt;/hi&gt; speaking of "heightened vitality", &lt;hi rend="u"&gt;one&lt;/hi&gt; answering "highly physical", &lt;hi rend="u"&gt;two&lt;/hi&gt; &lt;del&gt;ans&lt;/del&gt; adding "not localised", four mentioning sensations connected with the heart or respiration, one speaking of a muscular sense of uplifting, &lt;del&gt;and&lt;/del&gt; and &lt;hi rend="u"&gt;one&lt;/hi&gt; of &lt;hi rend="u"&gt;beautiful forms seeming to caress one&lt;/hi&gt;.&lt;/p&gt;
&lt;p&gt;But the &lt;del&gt;questi&lt;/del&gt; subject of&lt;/p&gt;
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&lt;p&gt;bodily &lt;del&gt;reson&lt;/del&gt; accompaniments or &lt;hi rend="u"&gt;resonance&lt;/hi&gt; of &lt;del&gt;aesthet&lt;/del&gt; &lt;del&gt;s&lt;/del&gt; aesthetic &lt;del&gt;preferm&lt;/del&gt; aperception is further illustrated by a negative test. My Questionnaire &lt;del&gt;puts the question&lt;/del&gt; asks (question 13) "La dépression physique, la fatigue, l’indisposition avec malaise ou tiraillement, vous empêchent-elles de jouïr pleinement d’une oeuvre d’art? ou bien la vue de celle-ci a-t-elle, à un degré plus ou moins prononcé, le pouvoir de refouler momentanément votre état pénible?&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;To this question, &lt;hi rend="u"&gt;eighteen&lt;/hi&gt; of the forty five subjects give no answer. Two, both of them priests and who have previously disclaimed&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;any in&lt;/del&gt;all interest in artistic &lt;hi rend="u"&gt;form&lt;/hi&gt; as distinguished from subject or &lt;del&gt;en&lt;/del&gt; moral suggestion answer that only moral &amp;amp; intentionnal satisfaction can overcome fatigue or slight pain; &lt;hi rend="u"&gt;eleven&lt;/hi&gt; persons answer that fatigue and depression stand in the way of artistic pleasure; &lt;hi rend="u"&gt;eleven&lt;/hi&gt; that it is a matter of degree of previous fatigue or &lt;hi rend="u"&gt;malaise&lt;/hi&gt;. &lt;del&gt;And&lt;/del&gt; only three answer that &lt;del&gt;artistic&lt;/del&gt; the presence of beautiful things is "always restorative" (one answers "unless deadly ill"). &lt;del&gt;While&lt;/del&gt; &lt;hi rend="u"&gt;One&lt;/hi&gt; makes it a question of novelty acting as a stimulant, &lt;del&gt;one&lt;/del&gt; and three, of which one myself,&lt;/p&gt;
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&lt;p&gt;remark that &lt;del&gt;degree&lt;/del&gt; a degree of initial numbingness due to physical &lt;del&gt;boredom&lt;/del&gt; depression may be sometimes be overcome by an effort; these &lt;del&gt;l&lt;/del&gt; latter groups of answers testifying to the confusion &lt;del&gt;between&lt;/del&gt; existing in people's mind between the &lt;del&gt;impedxx or&lt;/del&gt; partial or vital impexx of artistic pleasure (and indeed attention) by physical depression or &lt;hi rend="u"&gt;malaise&lt;/hi&gt; and the physically restorative &lt;del&gt;qualit&lt;/del&gt; action of such pleasure once it has been awakened.&lt;/p&gt;
&lt;p&gt;To this evidence in &lt;del&gt;favour&lt;/del&gt; ˆproofˆ of &lt;del&gt;bodily&lt;/del&gt; the existence of bodily conditions improxxx to aesthetic pleasure, there&lt;/p&gt;
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&lt;p&gt;may be added, by those who accept the &lt;del&gt;Lang&lt;/del&gt; Lange-James theory independently of aesthetics (as I understand Prof. Groos to do in his latest publication) another indirect piece of evidence: &lt;del&gt;a certain&lt;/del&gt; five or six of my subjects &lt;del&gt;a&lt;/del&gt; answer affirmatively &lt;del&gt;to the q&lt;/del&gt; (and with detail leaving no doubt) to the question whether, after the visual image of a work of art has disappeared from their memory, a sort of emotional &lt;hi rend="u"&gt;halo&lt;/hi&gt;&lt;del&gt;, a&lt;/del&gt; clings to its name and &lt;del&gt;causes&lt;/del&gt; ˆrevivesˆ a slight emotion of pleasure. According to the Lange James theory such a stored up &amp;amp; revived emotion would answer to a revival&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;of&lt;/del&gt;&lt;del&gt;in&lt;/del&gt; of the organic &lt;del&gt;pertur&lt;/del&gt; bodily condition without which (always according to the Lange-James theory) no real emotion can exist.&lt;/p&gt;
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&lt;p&gt;Now such sense of bien être &amp;amp; malaise provoked by the lines &amp;amp; planes of pictures, statues, architecture or natural scenery, does indeed suggest that lines &amp;amp; planes have a direct influence upon our vitality; but they do not in the least explain why they should have it. "Organic bien être" -- feelings of expansion about the chest, of increased &lt;del&gt;size&lt;/del&gt; ˆheightˆ &amp;amp; improved balance, of particularly of diminished weight, are an accompaniment of all sudden or great happiness; &lt;del&gt;and&lt;/del&gt; whatever its cause, &lt;del&gt;the slat&lt;/del&gt; but their existence does not explain why one kind of visible shape should provoke happiness plus bienêtre&lt;/p&gt;
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&lt;p&gt;and another &lt;del&gt;a&lt;/del&gt; kind of visible shape provoke dissatisfaction &amp;amp; malaise, and it is just this latter problem which the "organic accompaniments" detailed &lt;del&gt;by&lt;/del&gt; ˆinˆ C. Anstruther Thomson’s experiments in B. &amp;amp; U. attempted to solve by an application of the Lange James theory to aesthetics. Prof. Groos describes an experiment of his own which he seems to consider as crucial. B (Quote)&lt;/p&gt;
&lt;p&gt;ˆLeave spaceˆ&lt;/p&gt;
&lt;p&gt;&lt;del&gt;But the emotional ˆtoneˆ accompanying resulting from such a manner of holding the&lt;/del&gt;head &amp;amp; taking the &lt;del&gt;breath&lt;/del&gt; But such a manner of holding the head &amp;amp; of taking &amp;amp; emitting the breath &lt;del&gt;is&lt;/del&gt; may&lt;/p&gt;
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&lt;p&gt;indeed be characteristic of aesthetic delight mingled with a certain nostalgia clinging to the passing moment, as it is certainly &lt;del&gt;th&lt;/del&gt; characteristic of other delight and clexxx not at all determined by &lt;del&gt;visible shapes&lt;/del&gt; the peculiarities of lines &amp;amp; shapes. But such carrying of the head and such breathing are not those which could possibly accompany the act of aperceiving visible form (an act of &lt;del&gt;exp&lt;/del&gt; ocular exploration &amp;amp; of measurement &amp;amp; comparison), still less those differentiating the aperception of such forms as gives pleasure from the aperception of such&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;forms&lt;/del&gt;shapes &lt;del&gt;as&lt;/del&gt;&lt;del&gt;as&lt;/del&gt;&lt;del&gt;not pl&lt;/del&gt; give dissatisfaction: it is ˆcertainly notˆ the cause of any such holding of my head or ˆholding &amp;amp;ˆ emitting my breath that I am impelled to alter, &lt;del&gt;the&lt;/del&gt; if I can alter, the lines of a dress, the balance of a hat or the &lt;del&gt;composition&lt;/del&gt; angles &amp;amp; curves presented by a group of plants or of furniture. &lt;del&gt;As&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;above all it was not &lt;del&gt;to&lt;/del&gt; such bodily changes and emotional conditions which were dealt with in " Beauty and Ugliness" and brought forward in explanation not only of &lt;del&gt;artistic&lt;/del&gt; ˆaestheticˆ pleasure, but also of &lt;del&gt;artis&lt;/del&gt; aesthetic displeasure. &lt;del&gt;The changes in&lt;/del&gt; Our application &lt;del&gt;to the central&lt;/del&gt; of the Lange-James theory to the central problem of aesthetics (i.e. that of the differenciation between beautiful and ugly visible shapes) did not deal with bodily accompaniments of delight in &lt;del&gt;so&lt;/del&gt; things already recognised as&lt;/p&gt;
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&lt;p&gt;arrangement of agreeable movements in ourselves, this harmonoous total impression&lt;/p&gt;
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&lt;p&gt;beautiful, but with what my collaborator claimed to be the &lt;del&gt;normal ac&lt;/del&gt; bodily accompaniments (normal though not normally perceptible) of the movements made by the eyes and the head in the process of exploring visible shapes. And &lt;del&gt;they&lt;/del&gt; ˆtheyˆ can be exemplified by the following quotation from Beauty and Ugliness (p 559)-- "adjustments of bilateral breathing, of equilibrium transferred with regularity from one side to the other, tensions of&lt;/p&gt;
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&lt;p&gt;lifting up and pressing &lt;del&gt;dow&lt;/del&gt; downwards, &lt;hi rend="u"&gt;as the eyes&lt;/hi&gt; move along the symmetrical butline of the jar"&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Give more instances from B. &amp;amp; Ugliness&lt;/p&gt;
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&lt;p&gt;Now the question is: do such adjustments of the balance and alterations in the breathing really take place&lt;del&gt;;&lt;/del&gt; ? &lt;del&gt;Since, if they&lt;/del&gt;&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;The answers to my questionnaire&lt;/p&gt;
&lt;p&gt;Let us first examine the answers of my questionnaire. One subject speaks of "tending to draw in imagination"-- but this may refer to tensions accompanying the thought of &lt;del&gt;going&lt;/del&gt; reproducing the lines with a pencil, similar to the movements of drawing with the forefinger, and of modeling with the thumb which we have all of us&lt;/p&gt;
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&lt;p&gt;noticed in &lt;del&gt;persons a&lt;/del&gt; painters or sculptors when describing visible objects. Several  (    ) allude to &lt;del&gt;ins&lt;/del&gt; "inner tensions" &lt;del&gt;or&lt;/del&gt; ˆoneˆ "a beginning of muscular imitation connected with lines &lt;del&gt;or&lt;/del&gt; ˆanother toˆ very slight unlocalisable feelings of &lt;del&gt;irection&lt;/del&gt; direction connected with lines and planes. But not one has answered yes to any question of shifting the balance, &lt;del&gt;except&lt;/del&gt; &lt;del&gt;even in&lt;/del&gt; nor have I been able to find any indication of alteration in breathing. As regards myself, I have not, in ten years registering of my gallery&lt;/p&gt;
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&lt;p&gt;experience, observed in myself any such following of lines with the breath, the balance or the muscular sensations. What I have observed &lt;del&gt;in&lt;/del&gt; the &lt;del&gt;spontaneous&lt;/del&gt; on the surface (beyond which I have deliberately refused to penetrate) of my consciousness have been, &lt;del&gt;however,&lt;/del&gt; phenomena of altered breathing --particularly &lt;del&gt;conne&lt;/del&gt; in the nostrils distinctly connected with the &lt;del&gt;degree of&lt;/del&gt; output of attention, but rather as a matter of degree than according to the nature of the shapes perceived; and&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;suc&lt;/del&gt;similar, as it seems to me, to the respiratory changes of which I am aware while talking, thinking, writing, in fact &lt;del&gt;attending to&lt;/del&gt; giving my attention to other things than visible shapes &amp;amp; lines; respiratory changes often, perhaps always, accompanied my &lt;del&gt;a&lt;/del&gt; &lt;del&gt;d&lt;/del&gt; &lt;del&gt;sen&lt;/del&gt; sensations of palpitation&lt;del&gt;s&lt;/del&gt;, &lt;del&gt;heart fluttering,&lt;/del&gt; "rat in the chest" and generally speaking of &lt;del&gt;cardiac&lt;/del&gt; alterations &lt;del&gt;in my heart&lt;/del&gt;, &lt;del&gt;which&lt;/del&gt; cardiac action&lt;del&gt;s&lt;/del&gt;, to which medical examination shows me to be morbidly subject. On the other hand my self observations&lt;/p&gt;
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&lt;p&gt;possibly afford some negative evidence about the respiratory and equilibratory and muscular accompaniments of ocular movements in the fact that such alterations in the rythm of the heart seem to make it easier in my case &lt;hi rend="u"&gt;to attend to certain visible&lt;/hi&gt; shapes in me to &lt;del&gt;otherwise&lt;/del&gt; others (as I have ascertained after mo going up flights of stairs) &lt;del&gt;and&lt;/del&gt; while, if the &lt;del&gt;palpitati&lt;/del&gt; sensations of palpitation or heart irregularity become very strong, &lt;hi rend="u"&gt;all&lt;/hi&gt; attention to visible shapes, like all&lt;/p&gt;
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&lt;p&gt;sensations in the hands or arms (for I am not alluding to anything resembling in the least Mr Berenson’s &lt;del&gt;alledged&lt;/del&gt; sensations in the palms and fingers) with what do we feel that we grasp or hold (particularly hold steady) --? &lt;del&gt;We&lt;/del&gt; &lt;del&gt;Also n&lt;/del&gt; Remark that we employ the same expression &lt;hi rend="u"&gt;hold&lt;/hi&gt; to the our &lt;hi rend="u"&gt;breathing&lt;/hi&gt;. Does this not suggest that there is &lt;del&gt;a common&lt;/del&gt; ˆanˆ element of muscular tention common to prehension with the arms, hands and (as regards the ground) the feet, and prehension&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;or,&lt;/del&gt;(or as we call it "comprehension") with the eye or mind, and that this common element may be an ˆill-localisedˆ sensation of &lt;hi rend="u"&gt;holding&lt;/hi&gt;, of gripping, or letting go in &lt;del&gt;accompanying&lt;/del&gt; in the respiratory regions, sensations testifying to some real alteration in the taking in and giving out of our breath? &lt;del&gt;And if&lt;/del&gt; is not the &lt;hi rend="u"&gt;breath&lt;/hi&gt; connected, by &lt;del&gt;a&lt;/del&gt; immemorial usage (&lt;del&gt;and&lt;/del&gt; far more than any &lt;del&gt;hea&lt;/del&gt; cardiac action) with the &lt;hi rend="u"&gt;life&lt;/hi&gt;? In short is our attribution of &lt;hi rend="u"&gt;life&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;to inanimate objects, to mere ˆbodilessˆ shapes, other to mere two dimensional &lt;del&gt;lines &amp;amp;&lt;/del&gt; &lt;del&gt;co&lt;/del&gt; patterns of lines, not connected with our attention to such objects and shapes being accompanied by &lt;del&gt;vagu&lt;/del&gt; sensations, vague or clearly localised, which we are accustomed to think of as the &lt;hi rend="u"&gt;sensations of our own life&lt;/hi&gt;? As regards my own inability to detect such &lt;del&gt;alter&lt;/del&gt; sensations of &lt;del&gt;alter&lt;/del&gt; adaptations of breathing as accompaniments to the perception of visible shapes, I may put forward&lt;/p&gt;
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                          <text>Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle)</text>
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                          <text>Document : Fonds de dotation André et Berthe Noufflard.</text>
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&lt;p&gt;one or two &lt;del&gt;observations&lt;/del&gt; ˆsuggestionsˆ. 1° that alterations in the heart’s action swamp &lt;del&gt;the&lt;/del&gt; everything except very strong &amp;amp; clearly localised bodily sensations (as they tend to &lt;del&gt;swamp &lt;/del&gt;&lt;del&gt;all&lt;/del&gt; divert &lt;hi rend="u"&gt;all&lt;/hi&gt; attention to them xxx.) and that persons who, like myself, are excessively subject to cardiac sensations, probably &lt;del&gt;tend&lt;/del&gt; cease to perceive the far more delicate respiratory sensations (except, as I said, in the nostrils), nay, that the respiratory changes may in such individuals (&amp;amp; they are probably numerous) among nervous, hence among aesthetically sensitive subjects&lt;/p&gt;
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                          <text>Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle)</text>
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&lt;p&gt;tend to be translated immediately into &lt;hi rend="u"&gt;cardiac&lt;/hi&gt; changes, &lt;del&gt;which&lt;/del&gt; which dominate the consciousness by their insistance, and which &lt;del&gt;introduce, perchance, the&lt;/del&gt; heighten a factor (too much neglected by Einfühlung and Nachahmung &lt;del&gt;aest&lt;/del&gt; &lt;del&gt;c the&lt;/del&gt; hypotheses equally) &lt;del&gt;th&lt;/del&gt; in all aesthetic experience, the factor of &lt;hi rend="u"&gt;rythm&lt;/hi&gt;. I make this suggestion because, while my gallery diaries give no direct evidence upon such &lt;del&gt;facto&lt;/del&gt; respiratory and eqiulibratory sensations as my collaborator C. Anstruther Thomson has discovered&lt;/p&gt;
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&lt;p&gt;by dint of &lt;del&gt;highly special&lt;/del&gt; highly trained self observation, these gallery diaries of mine (in which, as remarked, I have never noted down anything which did not spontaneously offer itself on the surface, so to speak, of my &lt;del&gt;normal&lt;/del&gt; ˆeverydayˆ aesthetic consciousness) testify to the existence in myself of a very curious idiosyncrasy: (&lt;del&gt;Not the&lt;/del&gt; &lt;del&gt;a&lt;/del&gt; the greater or lesser &lt;del&gt;power&lt;/del&gt; vividness of the perception of various visible shapes &lt;del&gt;a&lt;/del&gt; due to the accompaniment of various musical themes. As the account of this peculiarity contained in&lt;/p&gt;
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&lt;p&gt;the Revue Philosophique ˆ(1905 N° 1, 2)ˆ has not been clear enough to prevent a decided misapprehension on the part of Prof. Groos, I wish to &lt;del&gt;state that it is not the mine is not a case of a given visible shape evoking a given tune or rythm.&lt;/del&gt; explain myself better. The tunes or rythms corresponding to ˆeitherˆ visible shapes or rather to their easy and complete aperception are not, as Prof. Groos has imagined, &lt;hi rend="u"&gt;evoked&lt;/hi&gt; in me by the sight of these given shapes. They are tunes which happen to be&lt;/p&gt;
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&lt;p&gt;already in my head (I am nearly always aware of a fragment of melody &lt;del&gt;haunting my&lt;/del&gt; performing itself in me, particularly when moving about) and also other tunes which, &lt;del&gt;wh&lt;/del&gt; on noticing that &lt;del&gt;these&lt;/del&gt; the spontaneously haunting one with which I have &lt;del&gt;ususally arrived before&lt;/del&gt; ˆcome amongˆ into the presence of a work of art&lt;del&gt;, i&lt;/del&gt; somehow impedes my aesthetic vision, I have purposedly rehearsed in my mind until I have found one (often after much trying) which seems to allow or&lt;/p&gt;
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&lt;p&gt;even favour my full visual attention. A great many observations have convinced me, without a single exception, that &lt;del&gt;the&lt;/del&gt; 1° the tune by which I &lt;del&gt;am&lt;/del&gt; happen to be haunted and which might be supposed to be connected with my momentary condition is by no means &lt;del&gt;appli&lt;/del&gt; calculated to favour the aperception of every work of art upon that occasion, nor in particular that of the &lt;del&gt;first&lt;/del&gt; work of art with which I happen to begin my days’ round, 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; that the tune, &lt;del&gt;s&lt;/del&gt; whether&lt;/p&gt;
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&lt;p&gt;brought with me to the gallery or obtained after much trying, which favours or impedes the vision of a given picture or statue on one day, really invariably favours or impedes the vision of that particular picture or statue on other occasion, although I should not be aware of the fact if my notebook had not recorded it. 3° That the "expression" of the tune &lt;del&gt;has n&lt;/del&gt; is in no &lt;del&gt;conne&lt;/del&gt; relation whatever with the "subject" &lt;del&gt;of&lt;/del&gt; or "expression" of the picture&lt;/p&gt;
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&lt;p&gt;or statue, and that the attention which is favoured (or impeded) is one dealing exclusively with the &lt;hi rend="u"&gt;visual form&lt;/hi&gt;, that is the lines and planes of the general composition, &lt;del&gt;of the&lt;/del&gt; the &lt;del&gt;shapes of the&lt;/del&gt; linear &lt;del&gt;outlines&lt;/del&gt; shapes and the particular quality &lt;del&gt;x&lt;/del&gt; --the &lt;hi rend="u"&gt;graphic&lt;/hi&gt; quality-- of the lines along which the eye can travel; whether these &lt;del&gt;be outlines&lt;/del&gt; coincide or not with the &lt;hi rend="u"&gt;outlines&lt;/hi&gt; of represented objects.&lt;/p&gt;
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&lt;p&gt;Dr Krebs-Waser, and, without any methodical observationn, to a certain extent by my collaborator C. Anstruther Thomson. A similar &lt;del&gt;concordance between&lt;/del&gt; facilitation of the aperception of one given picture during the objective performance (on the piano) of a given piece of music &lt;del&gt;while&lt;/del&gt; with a corresponding impeding of the aperception of another picture was observed upon ˆaccidentallyˆ in my presence by a painter, &lt;del&gt;xxx listening to&lt;/del&gt; who had certainly never heard&lt;/p&gt;
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&lt;p&gt;of my then &lt;hi rend="u"&gt;quite&lt;/hi&gt; unpublished &lt;del&gt;exp&lt;/del&gt; observations on this subject, and who happened to be listening to music in a room hung with a number of watercolours by different painters. But I have never found any other person to whom this &lt;del&gt;phen&lt;/del&gt; &lt;del&gt;idiosyn&lt;/del&gt; phenomenon was known, or any person who would take the trouble to make observations on the subject, and it can probably only be verified by individuals who are, like myself, most often accompanied by some remembered fragment of ˆmelodyˆ.&lt;/p&gt;
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&lt;p&gt;I mention this idiosyncrasy because the &lt;del&gt;possession of&lt;/del&gt; existing &lt;del&gt;common&lt;/del&gt; characteristics of &lt;del&gt;movement&lt;/del&gt; &lt;hi rend="u"&gt;tempo&lt;/hi&gt;, rythm and accent, of something corresponding to the muscular &lt;hi rend="u"&gt;span&lt;/hi&gt; of a musical interval (X) common to given visible and given audible patterns may possibly represent in my case the existence of respiratory and equilibratory &lt;del&gt;pro&lt;/del&gt; &lt;del&gt;accompaniments&lt;/del&gt; &lt;del&gt;cardiac&lt;/del&gt; accompaniments &lt;del&gt;to the only movements of which I&lt;/del&gt; to the only &lt;del&gt;movements&lt;/del&gt; ˆsensations of adjustmentˆ of which I am&lt;/p&gt;
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&lt;p&gt;Footnote (X)&lt;/p&gt;
&lt;p&gt;a very musical friend &lt;del&gt;tells me th&lt;/del&gt; telling me how all her impressions tend to "translate themselves" (i.e. find accompanying equivalents) into musical sounds, mentions that she habitually &lt;del&gt;calculates&lt;/del&gt; estimates distances, &lt;del&gt;of&lt;/del&gt; when walking about, in musical intervals, &lt;del&gt;fifths&lt;/del&gt; &lt;hi rend="u"&gt;which she hears internally&lt;/hi&gt;.&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;Normally&lt;/del&gt;ˆhabituallyˆ conscious during visual aperception, namely adjustments in or about the eyes.&lt;/p&gt;
&lt;p&gt;And here I wish to quote a &lt;del&gt;most important&lt;/del&gt; passage from Prof. Groos’s recent essay, because it represents the result of self observation entirely uninfluenced, I believe by &lt;del&gt;my&lt;/del&gt; the experiments &amp;amp; theories contained in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Quote Groos&lt;/p&gt;
&lt;p&gt;ästhetische Miterleben&lt;/p&gt;
&lt;p&gt;p. 176 from 2&lt;hi rend="sup"&gt;d&lt;/hi&gt; paragraph&lt;/p&gt;
&lt;p&gt;whole of next page and underlined passages (letter them A) in p 181.&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;Does such&lt;/del&gt;ˆIs suchˆ an accompaniment of ocular movement by &lt;del&gt;ad&lt;/del&gt; respiratory or equilibratory adjustments a constant factor in the aesthetic aperception of visible form? The question remains for the present an open one. For it is necessary to point out that, as was especially stated in Beauty &amp;amp; Ugliness (p 687) &lt;del&gt;such&lt;/del&gt; this phenomenon is &lt;del&gt;internal&lt;/del&gt; &lt;hi rend="u"&gt;hidden&lt;/hi&gt;, &lt;del&gt;that the&lt;/del&gt; can be &lt;del&gt;revealed&lt;/del&gt; ˆwatchedˆ (p.     ) only in special experiments like those made by my collaborator as the result of &lt;del&gt;extreme&lt;/del&gt; specially trained attention,&lt;/p&gt;
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&lt;p&gt;and are, by the very fact of normal aesthetical attention being withdrawn from the perceiving subject &amp;amp; fixed upon the perceived object&lt;del&gt;ion&lt;/del&gt;, translated &lt;del&gt;in&lt;/del&gt; at once into qualities of the visible shape (B &amp;amp; U p 546) &lt;del&gt;even&lt;/del&gt; "our attention has become engaged not with the &lt;del&gt;sh&lt;/del&gt; change in ourselves productive of the sense of height, or roundness or &lt;del&gt;be&lt;/del&gt; symmetry, but with the objective external causes of these changes, and the formula of perception has become not 'I feel roundness, or height, or symmetry' but 'this or that object is round, or high or symmetrical"&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;More&lt;/del&gt;There is yet another reason why the absence of &lt;del&gt;confirmation&lt;/del&gt; knowledge of such alledged phenomena &lt;del&gt;by&lt;/del&gt; &lt;del&gt;no&lt;/del&gt; is no argument against this real extistence, viz: &lt;del&gt;n&lt;/del&gt; namely (and here comes in the importance of the &lt;hi rend="u"&gt;motor type&lt;/hi&gt; &lt;del&gt;whom&lt;/del&gt; ˆwhichˆ Prof Groos once connected with aesthetic sensitiveness) that there is &lt;del&gt;a great&lt;/del&gt; ˆgreatˆ difference &lt;del&gt;bet&lt;/del&gt; between &lt;del&gt;va&lt;/del&gt; individuals with regard to their power and habit of attending to their own movements and still more in their power of localising any attendant sensations; hence a &lt;hi rend="u"&gt;great&lt;/hi&gt; difference also in the&lt;/p&gt;
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&lt;p&gt;recollection of localised sensations, and (by a vicious circle) in the recognition of them when, by some chance, they come to the surface. The &lt;hi rend="u"&gt;localisation&lt;/hi&gt; of sensations of muscular strain etc depends partly upon a &lt;del&gt;cl&lt;/del&gt; visualisation of one's own body which many people scarcely possess, partly upon &lt;del&gt;some&lt;/del&gt; &lt;del&gt;x a&lt;/del&gt; some schematic sense of the relation of various sensitive tracts of the body, &lt;del&gt;which&lt;/del&gt; ˆaˆ probably &lt;del&gt;constitutes&lt;/del&gt; &lt;del&gt;some&lt;/del&gt; &lt;del&gt;a sort&lt;/del&gt; sense of &lt;hi rend="u"&gt;unvisualised&lt;/hi&gt; geography of one's body, which in most of us is excessively&lt;/p&gt;
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&lt;p&gt;imperfect, as is shown by the extreme difficulty many of us have in knowing "how" they accomplish the simplest muscular function, and the still greater difficulty of finding the &lt;del&gt;exact parts&lt;/del&gt; parts which are to accomplish any unusually [unusual] movement, for instance to set the vocal parts and to breathe, with the full lungs under the &lt;del&gt;orga&lt;/del&gt; order of a master of "voice-production"-- There is, for instance, a difference &lt;hi rend="u"&gt;toto caelo&lt;/hi&gt; between the power pf &lt;del&gt;muscular&lt;/del&gt; localisation of muscular processes possessed by my collaborator C. Anstruther Thomson,&lt;/p&gt;
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&lt;p&gt;and myself: in the one --belonging to the famous &lt;hi rend="u"&gt;motor&lt;/hi&gt; type insofar as skilled &lt;del&gt;in&lt;/del&gt; from childhood in every kind of bodily activity and possessing every kind of dexterity of hand, an athlete, rider, coachman, dancer, painter, modeller, cutter out etc etc -- a constant interest in &lt;del&gt;movement&lt;/del&gt; locomotion and manipulation as such, a thinking in terms of &lt;hi rend="u"&gt;bodily movement&lt;/hi&gt;; in the other, myself, neither facility nor training in bodily activities, incapable of learning a piece of music except by ear or eye, incapable of learning (despite rather remarkable visual memory)&lt;/p&gt;
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&lt;p&gt;to draw; living entirely, so to speak, with the eye and the literary faculties, translating everything into visual images and into words; and moreover, as before remarked, subject to &lt;del&gt;constant&lt;/del&gt; almost constant sense of cardiac changes &lt;del&gt;which s&lt;/del&gt; such as must swamp other organic sensations by their insistence and their rythmical quality. &lt;del&gt;The&lt;/del&gt; Now consider that the "motor subject" &lt;del&gt;like my collaborator&lt;/del&gt; is, most often &lt;del&gt;= &amp;amp;&lt;/del&gt; an imperfect visualiser and &lt;del&gt;def&lt;/del&gt; &lt;del&gt;still&lt;/del&gt; deficient in the habit of &lt;del&gt;literary&lt;/del&gt; turning experiences into words, while the &lt;hi rend="u"&gt;visualiser&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;and the &lt;del&gt;literary subje&lt;/del&gt; &lt;hi rend="u"&gt;verbaliser&lt;/hi&gt; (who could &lt;del&gt;remember&lt;/del&gt; ˆvisualiseˆ the parts &lt;hi rend="u"&gt;where&lt;/hi&gt; they feel movement and &lt;del&gt;x&lt;/del&gt; store up and communicate experience in words) are probably deficient in observation &amp;amp; storage of muscular experiences; &lt;del&gt;as&lt;/del&gt; consider all this and you will understand why&lt;del&gt;,&lt;/del&gt; it will always be difficult to obtain information about phenomena which if they exist are normally subconscious and, &lt;del&gt;in&lt;/del&gt; by the very &lt;del&gt;definition&lt;/del&gt; ˆnatureˆ of aesthetic perception, translated into qualities attributed to the &lt;del&gt;scen&lt;/del&gt; &lt;del&gt;o&lt;/del&gt; visible objects,&lt;/p&gt;
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&lt;p&gt;qualities thought of as existing &lt;hi rend="u"&gt;outside&lt;/hi&gt; ourselves, and for which we have as little the habit of looking inside our bodies as we have the habit of looking for the colour red in our eye, the middle &lt;hi rend="u"&gt;la&lt;/hi&gt; of the violin in our ear, or the smell of a flower in our nose; &lt;del&gt;than we have the habit&lt;/del&gt;&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;But although I thus insist that absence or insufficiency of testimony to the existence of the bodily accompaniments (or ˆpartialˆ constixxx) of ˆvisualˆ shape perception does not in&lt;/p&gt;
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&lt;p&gt;the least miltate against their real and constant existence, I desire to make it clear that I do not think we have a right to &lt;del&gt;accept to&lt;/del&gt; accept &lt;del&gt;that r&lt;/del&gt; their real existence (still less to make&lt;del&gt;s such acceptx&lt;/del&gt; it (as I was guilty of doing in Beauty &amp;amp; Ugliness) the basis of &lt;del&gt;mere dogmatic&lt;/del&gt; &lt;del&gt;oth&lt;/del&gt; explanation, unless we obtain evidence of a kind totally different to that of any interpretation. And &lt;del&gt;here&lt;/del&gt; about this matter I found all my hopes upon &lt;del&gt;it&lt;/del&gt; objective&lt;/p&gt;
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&lt;p&gt;Miss Paget’s MS&lt;/p&gt;
&lt;p&gt;p 207 to 242&lt;/p&gt;
&lt;p&gt;(end)&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;last packet&lt;/p&gt;
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&lt;p&gt;investigations such as can be carried on by physiologists and psycho-physical experimenters. It seems to me that it ought to be possible &lt;del&gt;for&lt;/del&gt; to invent some &lt;del&gt;register&lt;/del&gt; &lt;del&gt;automatic&lt;/del&gt; ˆgraphicˆ apparatus which should register &lt;del&gt;the&lt;/del&gt; &lt;del&gt;funct&lt;/del&gt; ˆanyˆ bodily alterations &lt;del&gt;of the sort&lt;/del&gt; which may attend, not the simple (and quite artificial) &lt;del&gt;elements of&lt;/del&gt; states of &lt;del&gt;consciousness studied&lt;/del&gt;, &lt;del&gt;to no&lt;/del&gt; aesthetic perception studied (to no purpose that I can see) by men like Fechner, but the bodily alterations -- changes in heart action,&lt;/p&gt;
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&lt;p&gt;respiration, muscular contraction (if possible) in the organs connected with equilibrium, during normal aesthetic experiences  (say repeated visits to galleries &amp;amp; monuments) of whose &lt;del&gt;subjective&lt;/del&gt; "intellectual" and "emotional" the subject of experiment should keep a record; so that we should know, by a perfectly automatic process, not what the subject of experiment &lt;del&gt;thought&lt;/del&gt; &lt;hi rend="u"&gt;felt to be going on in his body&lt;/hi&gt; while he looked at works of art, but what actually was going on in that body&lt;/p&gt;
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&lt;p&gt;at moments &lt;del&gt;the&lt;/del&gt; when the very existence of his body was forgotten in the intensity of aesthetic attention.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;For, after all, we do not imagine that aesthetic pleasure or displeasure is due&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;For, after all, in attempting to explain &lt;del&gt;aesthetic&lt;/del&gt; variations in aesthetic consciousness by alterations in bodily processes, we must surely suppose that &lt;del&gt;the conscious&lt;/del&gt; what exists in consciousness is &lt;del&gt;m&lt;/del&gt; not the knowledge (knowledge which is itself a psychological fact!) of bodily processes in themselves, but some sort&lt;/p&gt;
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&lt;p&gt;Footnote ˆto p. 210 (endˆ&lt;/p&gt;
&lt;p&gt;at end of p. 222&lt;/p&gt;
&lt;p&gt;compare appendix quotations from Hugo Münsterberg's "Principles of Art Education"&lt;/p&gt;
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&lt;p&gt;Conclusion&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I shall now attenpt to define my own &lt;del&gt;po&lt;/del&gt; &lt;hi rend="u"&gt;present&lt;/hi&gt; attitude towards the three hypotheses dealt with in the foregoing pages.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;I will begin &lt;del&gt;by the&lt;/del&gt; with "Innere Nachahmung" --&lt;del&gt;because&lt;/del&gt; in order to dismiss it. Not because the phenomena it alledges are unverified, since they are, on the contrary those whose existence reposes upon the greatest number of fact. But because, as I have endeavoured to show, &lt;del&gt;only one kind&lt;/del&gt; only one of the two kinds of so called &lt;hi rend="u"&gt;Nachahmung&lt;/hi&gt; or &lt;hi rend="u"&gt;mimicry&lt;/hi&gt; &lt;del&gt;has anything to do with the central problem&lt;/del&gt; can be applied to explain our interest in and our likings &amp;amp; dislikings &lt;del&gt;with&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;in the matter of mere visible shapes as such, namely such mimicry, such movements ˆ&lt;del&gt;obj&lt;/del&gt; actualˆ or muscular sensations as &lt;hi rend="u"&gt;follow the movements of the eye&lt;/hi&gt;, and &lt;del&gt;are&lt;/del&gt; &lt;del&gt;produced b&lt;/del&gt; correspond  to peculiarities (&lt;del&gt;symmetry&lt;/del&gt; ˆ ˆ"energy"ˆ, &lt;del&gt;peculiar sym&lt;/del&gt; height, breadth, depth, ˆxxxxˆ symmetry etc etc) &lt;del&gt;of&lt;/del&gt; of the shapes as such and to characteristics (slackness, tension, swiftness, weightness, lightness etc which we attribute to &lt;del&gt;sha&lt;/del&gt; lines &amp;amp; &lt;del&gt;co&lt;/del&gt; shapes &lt;hi rend="u"&gt;absolutely independent&lt;/hi&gt; of what objects or movements these lines &amp;amp; shapes are intended to suggest to our mind.&lt;/p&gt;
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&lt;p&gt;As regards the other kind of &lt;del&gt;move&lt;/del&gt; actual movements or muscular sensations provoked by the thought of such represented objects or actions, such as prehensile &lt;del&gt;sensations of the&lt;/del&gt; &lt;del&gt;(&lt;/del&gt;&lt;del&gt;tactile&lt;/del&gt; and locomotor sensations of the sort alluded to by Mr B. and by Professor Groos in part of his evidence, these, or the mental states which produce or are produced by them, no doubt play a part, &lt;del&gt;in&lt;/del&gt; perhaps an important part, in the excessively complex and varying group of phenomena connected with works of art. But&lt;/p&gt;
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                          <text>Geoffroy, Sophie (édition scientifique et transcription)</text>
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&lt;p&gt;although they may enhance or diminish, although they may influence in a dozen ways the output of our aesthetic attention and its pelasurable or painful, its "emotional" effects, &lt;del&gt;they&lt;/del&gt; &lt;del&gt;they&lt;/del&gt; &lt;del&gt;their&lt;/del&gt; their origin is in an act of recognition of what the visible shapes resemble or suggest, and &lt;del&gt;they&lt;/del&gt; their existence cannot explain preferences for peculiarities in those shapes &lt;del&gt;which are in&lt;/del&gt; independent of any such act of recognition.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;It&lt;/del&gt;I am the first to admit that &lt;del&gt;"artistic pleasure", or as x&lt;/del&gt; "aesthetic&lt;/p&gt;
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&lt;p&gt;ˆaestheticˆ pleasure" or as I should prefer to call it "artistic pleasure"-- contains intellectual, moral, dramatic and many other important factors besides the factor of aperception of visible form. But &lt;del&gt;my&lt;/del&gt; these I wish to keep out of the present discussion, which is the same as that which I had previously &lt;del&gt;entitled&lt;/del&gt; headed with the &lt;del&gt;form&lt;/del&gt; &lt;del&gt;adjectives&lt;/del&gt; words, &lt;del&gt;applicable primarily&lt;/del&gt; expressive of the &lt;del&gt;emotional&lt;/del&gt; intrinsic qualities of &lt;hi rend="u"&gt;form&lt;/hi&gt;, "Beauty and Ugliness".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;The other half of the alledged "Nachahmung" mimetic&lt;/p&gt;
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&lt;p&gt;movements or &lt;del&gt;sens&lt;/del&gt; muscular sensations &lt;del&gt;are&lt;/del&gt; is immediately connected with the hypothesis that the agreeable or disagreeable effect of certain shapes is due to their &lt;del&gt;p&lt;/del&gt; aperception being accompanied by alterations in the breathing and the balance, and with whataver vital functions may be intimately connected with these. And here again I wish to put in a proviso, namely that I am as deeply persuaded as any one of the &lt;del&gt;aestheti&lt;/del&gt; pleasure &amp;amp; displeasure due to mere aperception of visible shape being enormously heightened by all manner of&lt;/p&gt;
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&lt;p&gt;organic resonances &lt;del&gt;which&lt;/del&gt; &lt;del&gt;w&lt;/del&gt; which are &lt;del&gt;not&lt;/del&gt; intrinsically &lt;del&gt;connected&lt;/del&gt; ˆdependentˆ &lt;del&gt;in o&lt;/del&gt; with totally different functions (Mr Santayana has pointed out the increase of &lt;del&gt;aesth&lt;/del&gt; &lt;del&gt;sen&lt;/del&gt; aesthetic sensations connected with &lt;del&gt;the&lt;/del&gt; sexual &lt;del&gt;crisis&lt;/del&gt; development &lt;del&gt;=)&lt;/del&gt; &lt;del&gt;the&lt;/del&gt; &lt;del&gt;the "poetical&lt;/del&gt; &lt;del&gt;in&lt;/del&gt; . Indeed &lt;hi rend="u"&gt;I think&lt;/hi&gt; it is is conceivable ˆthough just probableˆ that the &lt;hi rend="u"&gt;central&lt;/hi&gt; aesthetic &lt;del&gt;pref&lt;/del&gt; phenomenon of form preference and aversion &lt;del&gt;mi&lt;/del&gt; may &lt;del&gt;be&lt;/del&gt; owe nine tenths of &lt;del&gt;su&lt;/del&gt; its emotional quality to &lt;del&gt;s&lt;/del&gt; organic resonances connected, &lt;del&gt;wit&lt;/del&gt; by some &lt;del&gt;organic&lt;/del&gt; grouping of &lt;del&gt;org&lt;/del&gt; functions, &lt;del&gt;with preference and aversion&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;with the mental characteristics, perhaps the muscular accompaniments of the &lt;del&gt;mere&lt;/del&gt; states of mere "preference" and "aversion" as &lt;hi rend="u"&gt;such&lt;/hi&gt; and that the "poignancy" of certain aesthetic experiences may be due rather to a psychical (or perhaps a physical) gesture of &lt;hi rend="u"&gt;seeking grasping, clinging to&lt;/hi&gt;, what we have already preferred, than to the act of preference itself. But that act of &lt;del&gt;preference&lt;/del&gt; aesthetic preference, even if we imagine it to have but little emotional quality of its own, would &lt;del&gt;have&lt;/del&gt; remain to be &lt;hi rend="u"&gt;accounted&lt;/hi&gt; for, and the hypotheses brought forward by C. Anstruther Thomson and myself in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt; all bear&lt;/p&gt;
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&lt;p&gt;upon alledged or possible concomitants, intexxxx and constant, of form perception in itself, and not upon any secondary and connected phenomena of dramatic &lt;del&gt;= muscular&lt;/del&gt; mimicry and organic "radiation" by which aesthetic &lt;del&gt;preference for definite&lt;/del&gt; form preference may or may not be complicated.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;As regards therefore this central aesthetic phenomenon of &lt;del&gt;form&lt;/del&gt; &lt;del&gt;visible form&lt;/del&gt; visual form preference there arises the question: is the act of ocular &lt;del&gt;percep&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;perception of shape accompanied by ˆ1°ˆ muscular adaptations other than those of the eye itself; and 2&lt;hi rend="sup"&gt;do&lt;/hi&gt; by adjustments in the functions of respiration and equilibrium, and &lt;del&gt;o&lt;/del&gt; &lt;del&gt;connec&lt;/del&gt; other consequent organic changes?&lt;/p&gt;
&lt;p&gt;In other words, are the bodily phenomena described in &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, &lt;del&gt;and&lt;/del&gt; &lt;del&gt;testified&lt;/del&gt; the cognate bodily phenomena described in Professor Groos’s recent article on "Aesthetische Miterleben" the cause, or the result of the aesthetic preference&lt;/p&gt;
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&lt;p&gt;for certain lines and shapes. This question remains open, and, after considerable fluctuation of opinion on the subject (&lt;del&gt;footnote&lt;/del&gt;) I confess that I am at present in absolute uncertainty, and that it seems to me that this question of the bodily origin or bodily results of the psychic &lt;del&gt;f&lt;/del&gt; act of aesthetic form preference, requires to be submitted not only to much and rigorously compared introspection, but even more to &lt;del&gt;some kind&lt;/del&gt; physiological or psycho-physical observation.&lt;/p&gt;
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&lt;p&gt;&lt;del&gt;This question will depend&lt;/del&gt;This question is interdependent &lt;del&gt;of&lt;/del&gt; ˆwithˆ the Lange-James hypothesis in general; and, while the the &lt;del&gt;bodily&lt;/del&gt; ˆhypothesis of aˆ connexion of body and soul in ˆtheˆ aesthetic phenomenon will share whatever fate is reserved for the Lange-James hypothesis, that hypothesis may, I think, be ˆultimatelyˆ accepted or rejected &lt;del&gt;a&lt;/del&gt; largely as a result of investigations &lt;del&gt;directed to&lt;/del&gt; of the aesthetic phenomenon.&lt;/p&gt;
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&lt;p&gt;This is, I think, a question less of aesthetics than of psychology or rather &lt;del&gt;py&lt;/del&gt; psycho-physiology. But putting aside all such questions of the parallelism or perhaps the dove-tailing (enchevêtrements) of "bodily" and "mental" processes, there remains the &lt;del&gt;explanation&lt;/del&gt; ˆquestionˆ of our interest in visible shapes &lt;del&gt;a&lt;/del&gt; for their own sake and of our satisfaction and dissatisfaction, &lt;del&gt;by&lt;/del&gt; ˆandˆ the explanation thereof by the &lt;del&gt;h&lt;/del&gt; &lt;del&gt;theory&lt;/del&gt; &lt;del&gt;th&lt;/del&gt; &lt;del&gt;a&lt;/del&gt; hypothesis of the attribution of our&lt;/p&gt;
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&lt;p&gt;of our own modes of dynamic experience ("motor ideas" as distinguished from "muscular &lt;del&gt;p&lt;/del&gt; processes") to the shapes whose aperception is a result not merely of (ˆtheˆ bodily &lt;del&gt;acti&lt;/del&gt; activity of our eyes, but of the "mental") (perhaps ultimately bodily) activities of measuring, comparing, combining of the visual data; and is accompanied by the reviviscence of motor experience in what we call our "mind".&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;del&gt;To&lt;/del&gt;Such a hypothesis is as this --in many respects answering to &lt;del&gt;what&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;the psychological nucleus round which Prof. Lipps has spun the metaphysical phraseology of &lt;hi rend="u"&gt;Einfühlung&lt;/hi&gt; --I wish once more to accept as the only one &lt;del&gt;I&lt;/del&gt; which tackles the central problem of aesthetics and does so in accordance with the facts and hypotheses of modern mental science (Seehn [Sehen] Lehre)--&lt;/p&gt;
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&lt;p&gt;Such are the &lt;del&gt;a&lt;/del&gt; hypotheses contained in that essay on &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, &lt;del&gt;for&lt;/del&gt; ˆtheˆ amplification and correction of whose &lt;del&gt;f&lt;/del&gt; &lt;del&gt;theories&lt;/del&gt; facts and theories will continue to afford work to my collaborator and myself, and, will, I trust be carried on by younger aestheticians who will profit not only by whatever we have achieved, but by the very mistakes we have committed.&lt;/p&gt;
&lt;p&gt;_______________  . . _________________________&lt;/p&gt;
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&lt;p&gt;-- &lt;hi rend="u"&gt;Appendix Quotations&lt;/hi&gt; ˆfromˆ &lt;hi rend="u"&gt;Hugo Münsterberg&lt;/hi&gt; The Principles of Art Education (New York 1905)&lt;/p&gt;
&lt;p&gt;p. 82 et seq. (&lt;del&gt;italics in&lt;/del&gt; original)&lt;/p&gt;
&lt;p&gt;"&lt;hi rend="u"&gt;Every curve or line or space&lt;/hi&gt;-division is &lt;hi rend="u"&gt;"Thus psychologically a system of eye movement sensations&lt;/hi&gt;.&lt;/p&gt;
&lt;p&gt;Is this enough to explain why certain combinations or divisions of lines and spaces are agreeable or disagreeable? Certainly not... &lt;del&gt;But there is another possibility.&lt;/del&gt; The motor impulse of the brain may radiate to other muscle groups of our organism. &lt;del&gt;ˆFootnotˆ&lt;/del&gt; The light paints on the right may stir up not only the eye muscles to move our eyes to the right, but may excite &lt;del&gt;th&lt;/del&gt; our whole&lt;/p&gt;
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&lt;p&gt;organism to turn to the right side, extend the arms in that direction, to grasp with the hands for the object. The brain mechanism for this transmission of stimulation into bodily action does exist and must exist, for it is clearly the condition for the local adjustment of our actions in practical life. Whenever one object in the field of vision demands our practical action, perhaps our grasp of it, the locally related system of movement-impulses is brought about through the optical impression. The &lt;del&gt;whole&lt;/del&gt; object high in the field of vision turns our whole body upwards, the low object downwards...&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;Now there are three possibilities&lt;/p&gt;
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&lt;p&gt;three cases which we can clearly separate theoretically, although practically no sharp demarcation line exists, and endlessly many combinations and transmissions between three schemes are found. The first case is that in which the motor impulse to the body finds the organism engaged in other activities under the control of more vivid impressions or ideas or thoughts. The new excitement is thus inhibited; that is, the eyes follow the outlines of the visual objects, but the body as a whole remains unmoved. That is, of course, the most frequent case. We see in every instant plenty of forms, but &lt;del&gt;they&lt;/del&gt; they do not engage our organism outside of the eyeballs, and the result is that the forms&lt;/p&gt;
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&lt;p&gt;are merely local distances and directions. The second case is that in which the objects in the visual field demand from us an action; whether we approach the thing or escape from it, whether we change it in one way or another is, of course, determined by the quantities of the object, but the general local adjustment depends necessarily upon its local forms; we grasp the thing by its &lt;del&gt;handles&lt;/del&gt; handle, we put the foot to the &lt;del&gt;ground&lt;/del&gt; side-walk (&lt;hi rend="u"&gt;trottoir&lt;/hi&gt;) ˆetcˆ &lt;del&gt;we move the pen according to the form&lt;/del&gt; . . . . In this second case the optical impression does produce a bodily movement, but the corresponding movement sensation is felt as a state of one's&lt;/p&gt;
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&lt;p&gt;own personality, as indicative of the subjective reaction. We perceive the things and we perceive ouselves as performing the action... We may say in general: whenever the given optical impression connects &lt;del&gt;wi&lt;/del&gt; itself with the idea of a future effect or change, the resulting motor impulse is felt and interpreted as our own activity, directed towards the future end.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;&lt;hi rend="u"&gt;But a third case is possible. The optical impression&lt;/hi&gt; &lt;del&gt;s&lt;/del&gt; &lt;hi rend="u"&gt;, as it is at present and for itself alone, may absorb our mind; then the motor impulse to the organism will discharge itself and lead to localised tensions and movement&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;sensations. Here the impulse is not, as in our first case, checked by motions in the interest of other objects, for the presupposition was that one object alone filled our mind. On the other hand, the impulse cannot now lead to a practical action, as in our scond case, for we saw that every practical action involves the idea of anend to be reached; thus leading beyond the present impression which, according to the presupposition, fills the whole mind. The suppression and inhibition of the idea of &lt;del&gt;a&lt;/del&gt; practical future end&lt;del&gt;s&lt;/del&gt; thus creates a suppression of the real external movement&lt;/p&gt;
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&lt;p&gt;an effect which is produced in the organism by an innervation of the antagonistic muscles. That which the motor impulse produces is thus not an actual movement, but a system of tensions and contractions which gives us subjective feelings of strain, of effort, of tension, of direction, of movement-intention. But further, we have assumed that nothing beyond the idea of the optical impression was to be in our mind; thus we are not thinking of ourselves as objects, as empirical personalities; every thought concerning ourselves and our&lt;/p&gt;
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&lt;p&gt;actions would lead us away and would link the visual impression with something else (A) &lt;hi rend="u"&gt;The result must be that the feelings of strain and impulse which go on in ourselves are not projected into our body&lt;/hi&gt;, but &lt;hi rend="u"&gt;into the visual impression&lt;/hi&gt;; just as the optical sensations were all the time joining themselves with the movement sensations of the eye-muscles, so in this case, &lt;hi rend="u"&gt;optical sensations and eye-muscle sensations are fusing with sensations of bodily tension&lt;/hi&gt;, and while the muscle-sensations of the eyes give the local values and distance relations to the light-impressions&lt;/p&gt;
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&lt;p&gt;and thus build up ideas of geometrical forms, &lt;hi rend="u"&gt;these sensations of impulse and strain give to the optical forms and element of force and energy. We ourselves are contracting our muscles, but we feel as if the lines were pulling and piercing&lt;/hi&gt;, bending and lifting, pressing down and pushing up; in short, as soon as the visual impression is really isolated, and all other ideas really excluded, &lt;hi rend="u"&gt;then the motor impulses do not awake actions which are taken as actions of ourselves, but feelings of energy&lt;/hi&gt;&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;which are taken as energies of the visual forms and lines ... in ˆtheˆ aesthetic aperception ... the lines mean energies&lt;/hi&gt;, while in every practical relation or scientific apperception the lines mean distances only. But we can go further; If the energies which we &lt;del&gt;feel&lt;/del&gt; feel in the lines are external &lt;hi rend="u"&gt;projections of our own energies, we understand the psychological reasons why certain combinations of lines please us and others do not ... They ought to be such that they correspond to the natural energies of our own organism and represent the harmony of our own muscular functions&lt;/hi&gt;,&lt;/p&gt;
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&lt;p&gt;because every interference with&lt;hi rend="u"&gt; the natural innervations of our system would turn our attention to our own body and would destroy ˆthusˆ the isolation&lt;/hi&gt;, the movement impulses would appear again as states of ourselves.&lt;hi rend="u"&gt; For instance, we are symmetrical beings our natural movement tendencies are equally distributed to the right and to the left; the result is that we demand from the play of lines that they balance each other.&lt;/hi&gt; On the other hand, our organism is not symmetrical as to the upper and lower half;&lt;hi rend="u"&gt; we feel in our muscular energies that our lower part has to give us stability&lt;/hi&gt;,&lt;/p&gt;
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&lt;p&gt;&lt;hi rend="u"&gt;while the&lt;/hi&gt;&lt;del&gt;lower&lt;/del&gt;&lt;hi rend="u"&gt; upper half has the free mobility of action; the result is that we do not want a vertical&lt;/hi&gt;symmetry in the energies of our optical forms; they too, must show the stability in the lower, the freedom and ease in the upper part. In every case the interest, and thus the beauty, must grow with the complexity of energies involved; the bilateral balance of rigid geometrical symmetry is thus less interesting than the balance of unequal combinations of lines where for instance, the length of the lines on one side is balanced by the strangeness of curves or by the outward bending of the line, or by the heaviness&lt;/p&gt;
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&lt;p&gt;of the line combination on the other. &lt;hi rend="u"&gt;The richer and more manifold the motor impulses which reflect in our consciousness, the higher is the aesthetical value of the form, but even the simple symmetrical design is completely beautiful because it corresponds, by the energies which its lines express, completely to the energies of our p own personality&lt;/hi&gt;. ... The optical impressions of the framing lines work as stimuli for motor impulses to push us towards the centre; they indicate the regions beyond which we must not move, and this motor influence exerted from all sides at the same time, must concentrate&lt;/p&gt;
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&lt;p&gt;our whole motor energy to the centre, so that every movement-impulse gets a reinforcement from its nearness to the centre etc... &lt;hi rend="u"&gt;There is no form and no combination of lines whose formal beauty cannot be understood psychologically by their correspondence with the natural motor energies of our&lt;/hi&gt; &lt;del&gt;bodies&lt;/del&gt;&lt;hi rend="u"&gt; body&lt;/hi&gt;. But we must never forget that &lt;hi rend="u"&gt;all&lt;/hi&gt; this is true merely for the one case in which the optical impression is the only idea which fills our mind in complete isolation; as soon as we connect the impression with ideas which lead beyond it, the motor &lt;hi rend="u"&gt;reaction becomes interpreted as our activity and not&lt;/hi&gt; as&lt;/p&gt;
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&lt;p&gt;energy of the lines ... simply because in such a case the lines (in a geographical map) do not come in question for their own account."&lt;/p&gt;
&lt;p&gt;________&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;As Prof. Münsterberg is well-known as one of the greatest of psycho-physicians&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
&lt;p&gt;As Prof. Münsterberg mentions, in answer to a questionnaire (similar to that answered as above quoted by Prof. Groos) that &lt;del&gt;he&lt;/del&gt; such questions could be answered only "on the basis of careful experimental analysis" it seems probable that the above remarkable sentences are &lt;del&gt;even&lt;/del&gt; also the result of much personal investigation. &lt;del&gt;But even if they were merely a re-statement in psycho-physiological terms of the&lt;/del&gt;&lt;/p&gt;
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&lt;p&gt;But even if I were mistaken in this inference from Prof. Münsterberg's letter, and if the passages quoted should prove to be mere re-statements in psycho-physiological terms of &lt;del&gt;the&lt;/del&gt; statements made (independently of one another) &lt;del&gt;by&lt;/del&gt; ˆinˆ &lt;del&gt;Lipps in&lt;/del&gt; Lipps’s &lt;hi rend="u"&gt;Raum-Aesthetik&lt;/hi&gt; and in my own &lt;hi rend="u"&gt;Beauty and Ugliness&lt;/hi&gt;, it seems to me that &lt;del&gt;the&lt;/del&gt; even the mere adoption of these notions by one of the most eminent psycho-physical investigaters would constitute a most important confirmation of their scientific value.&lt;/p&gt;
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                    <text>Fait référence au "Mémoire et Questionnaire sur le rôle de l’élément moteur dans la Perception esthétique visuelle", à "Beauty and Ugliness (art. publié en 1897 dans &lt;em&gt;The Contemporary Review&lt;/em&gt;)", à "L'individu devant l'oeuvre d'art". Contient le questionnaire de Clementina Anstruther-Thomson; le questionnaire de Vernon Lee adressé à Karl Groos et les réponses de celui-ci.</text>
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                    <text>&lt;em&gt;publié sous le titre "The Central Problem of Aesthetics", dans Beauty and Ugliness and Other Studies in Psychological Aesthetics, London: John Lane, "The Bodley Head", &lt;/em&gt;and&lt;em&gt; New York: John Lane Cy, 1912, p. 77-151.&lt;/em&gt;</text>
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Lettre, carte postale, photo, etc. (correspondance)&#13;
Photographie, diapositive, etc. (iconographie)&#13;
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Papier, carnet, feuillet&#13;
Carte plastifiée (dossier biographique), négatif, etc. (iconographie)&#13;
Autre support : enregistrement sonore, vidéo, etc.</description>
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                    <text>Enveloppe :&lt;br /&gt;France&lt;br /&gt;Madame André Noufflard&lt;br /&gt;&lt;span style="text-decoration: line-through;"&gt;Fresnay-Le-Long&lt;/span&gt;&lt;br /&gt;Quiberville&lt;br /&gt;par&lt;br /&gt;&lt;span style="text-decoration: line-through;"&gt;St Victor l'Abbaye&lt;br /&gt;&lt;/span&gt;Ouville la Rivière&lt;br /&gt;Seine Inférieur&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;24 Sloane Court London S.W.III&lt;br /&gt;Le &lt;span style="text-decoration: line-through;"&gt;3&lt;/span&gt;4 août XXV&lt;br /&gt;Mes chers amis – permettez moi [permettez-moi] de vous adresser ainsi, puisque votre amitié continue de m'être donnée si généreusement en toute connaissance de cause. Puisse l'horrible livre que je vous ai fait parvenir – horrible à mes propres yeux comme tout ce qui se rapporte à ce sujet – ne pas vous dégouter de moi. Car je conçois si bien que toute mon attitude dans les questions morales soit de nature à froisser &lt;span style="text-decoration: line-through;"&gt;toute&lt;/span&gt; la religion innée &amp;lt;et immannente [immanente]&amp;gt; en tout français de tradition et d'âme, car il me semble toujours que le français &lt;span style="text-decoration: line-through;"&gt;pre&lt;/span&gt; peut rire de ses dieux, mais a besoin de dieux... Je me trompe très vraisemblablement, comme dans beaucoup d'autres généralisations... &lt;br /&gt;Il en reste une &lt;span style="text-decoration: line-through;"&gt;sur&lt;/span&gt;à laquelle &lt;span style="text-decoration: line-through;"&gt;p&lt;/span&gt; l'expérience de ma vie m'oblige &lt;span style="text-decoration: line-through;"&gt;à&lt;/span&gt; de croire : c'est que vous autres français et françaises avez en fait d'amitié personnele [personnelle] un idéal et une pratique absolument à vous. Plus d'une fois j'ai goûté à cette merveille qui est &lt;em&gt;l'amitié française&lt;/em&gt; (bien &lt;span style="text-decoration: line-through;"&gt;aud&lt;/span&gt; différente de celle dont parle Barrès !) ; il m'en est resté le regret constant et c'est peut-être à Fresnay que j'ai senti, la première fois depuis la guerre, que ce charme pourrait rentrer dans ma vie.&lt;br /&gt;Ainsi, rendez vous [rendez-vous] compte de tout ce qu'il y a de choquant pour vous dans mon gros livre ; ne le discutons pas et laissez moi [laissez-moi] vivre dans l'attente de nous revoir l'été prochain en Normandie et &lt;span style="text-decoration: line-through;"&gt;peut ê&lt;/span&gt; peut-être cet hiver à Florence.&lt;br /&gt;Ceci je voulais vous l'écrire dès que j'ai eu votre lettre. Mais Londres et la grande chaleur m'ont absolument démontée. Puis j'ai dû me mettre à écrire mes souvenirs d'enfance sur mon vieil ami Sargent, voulant donner cette satisfaction &lt;span style="text-decoration: line-through;"&gt;avant&lt;/span&gt; à ses sœurs avant leur départ à l'étranger. Et &lt;span style="text-decoration: line-through;"&gt;me&lt;/span&gt; tout travail régulier me laisse aujourd'hui incapable ou presque d'écrire des lettres.&lt;br /&gt;Vous me demandez &lt;span style="text-decoration: line-through;"&gt;c&lt;/span&gt; où en est ma surdité ? Il paraît qu'elle ne grandira pas très rapidement et que l'oreille qui me reste pourra durer autant que moi. D'autre part l'auriste a relevé une sensibilité morbide qui rend pénible et dangereux l'usage des appareils même les plus perfectionnés. On ne me permet qu'une sort [sorte] de coquillage &lt;em&gt;vide&lt;/em&gt; &lt;span style="text-decoration: line-through;"&gt;faisant le&lt;/span&gt; remplaçant simplement la main portée à l'oreille. Cela sert à bien peu ; et il faudra que mes amis continuent à user d'une franche patience avec moi ; beaucoup de mots, surtout de noms propres, m'échappent toujours et je renonce définitivement à toute conversation qui dépasse le tête à tête. &lt;span style="text-decoration: line-through;"&gt;J'en&lt;/span&gt; J'en ai fait l'expérience dernièrement à la table de mes amis, où je n'entendais plus qu'un bruit de voix sans rien y comprendre.&lt;br /&gt;Que pensez vous [pensez-vous] de l'amnistie que nous octroie Mussolini ? Cela permettra-t-il à Salvemini de &lt;span style="text-decoration: line-through;"&gt;paus&lt;/span&gt; sortir d'un pays où, quelle que soit l'apparence d'une légalité nouvelle, le fanatisme individuel (sans compter la haine de ceux qu'il a accusés) sera une menace constante. &lt;span style="text-decoration: line-through;"&gt;Z&lt;/span&gt; Je souhaite son départ pour une autre raison : &lt;span style="text-decoration: line-through;"&gt;ses&lt;/span&gt; il &lt;span style="text-decoration: line-through;"&gt;pr&lt;/span&gt; est pour ainsi dire un ôtage [otage], et tant qu'il reste là bas [là-bas] il &amp;lt;nous&amp;gt; sera impossible de faire usage du journalisme étranger. Or l'opinion de l'étranger surtout de l'Angleterre qui &lt;span style="text-decoration: line-through;"&gt;tiant&lt;/span&gt; tient la banque, peut agir très puissamment sur le change italien, et je crains que seul [seules] des difficultés d'argent pourront faire tomber (avec &lt;em&gt;la lira&lt;/em&gt; !) le régime de Mussolini. Je me demande même si l'amnistie et la promesse &lt;span style="text-decoration: line-through;"&gt;de&lt;/span&gt; d'y soustraire les assassins de Matteotti ne vise pas à faire croir [croire] &lt;span style="text-decoration: line-through;"&gt;à l'&lt;/span&gt; l'Etranger à une &lt;em&gt;normalisation&lt;/em&gt; favorable aux affaires. Je vous envoie un article fait par une personne amie et très au &lt;span style="text-decoration: line-through;"&gt;contraire&lt;/span&gt;courant : j'ai dû insister pour qu'on n'y parle pas de Salvemini et je constate qu'on en a trop parlé. Sa liberté provisoire est un baîllon [bâillon] que M. &lt;span style="text-decoration: line-through;"&gt;met&lt;/span&gt; nous met sur la bouche.&lt;br /&gt;Je vous écris de la campagne &lt;span style="text-decoration: line-through;"&gt;and&lt;/span&gt; assez mauvaise par la pluie, et où ce &lt;span style="text-decoration: line-through;"&gt;no&lt;/span&gt; qui m'intéresse le plus ce sont les hérons &lt;span style="text-decoration: line-through;"&gt;qui&lt;/span&gt; pêchant à marée basse et nichant dans les grands pins du parc. C'est beau et moyenâgeux. Je passerai le reste du mois chez une amie, à Oxford, Miss Price, que connaissent les Elie. Mais l'adresse de Londres est la plus sûre, parce que la maison dispose d'une boîte &lt;span style="text-decoration: line-through;"&gt;à&lt;/span&gt;aux lettres permettant &lt;span style="text-decoration: line-through;"&gt;q&lt;/span&gt; le renvoi immediat [immédiat] du courier [courrier]. Dîtes moi [dites-moi], je vous en prie &lt;span style="text-decoration: line-through;"&gt;si&lt;/span&gt;, s'il vous arrive des nouvelles de Salvemini, et si vous croyez entrevoir du nouveau en Italie. Jamais on ne pourra faire le procès Matteotti, les différents &lt;em&gt;memoriali&lt;/em&gt; sont &lt;em&gt;altro che amnestia&lt;/em&gt; !&lt;br /&gt;Laissez-moi de nouveau vous répéter combien votre amitié me touche et me fait du bien.&lt;br /&gt;Afft&lt;br /&gt;V. Paget</text>
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                    <text>&lt;div style="text-align: justify;"&gt;4 novembre XXV R6&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;Chers Monsieur et Madame Noufflard, &lt;br /&gt;Chers délicieux nouveaux amis, &lt;br /&gt;attribuez mon silence uniquement à l’état de ma santé depuis mon retour en Italie, état de lassitude physique et morale qui fait que tout effort semble impossible et que tout semble effort. Mal en train tout l’été j’ai pu continuer à marcher (et à causer !) tant qu’a duré le passage de maison d’amis à maison d’amis. Rentrée chez moi je me suis affaissée dans ce qui ressemble plutôt à la convalescence qu’à la maladie : état qui n’est pas sans charme, mais qui empêche tout travail et rend fatigant tout contact avec son prochain. En un mois et davantage je n’ai été Florence &lt;span style="text-decoration: line-through;"&gt;qu’un&lt;/span&gt; que deux fois ; hier c’était la séconde [seconde]. Je passe une grande partie de ma journée sur un banc au soleil (le temps a été merveilleux, un automne d’or et d’ambre comme chez vous) à lire les journaux (pas ceux de ce pays-ci bien entendu !) et à flâner par les poderi voisins. Le reste du temps j’ai vécu de romans et j’ai joué des gammes, chose &lt;span style="text-decoration: line-through;"&gt;q&lt;/span&gt; qui m’était inconnue depuis mon enfance. &lt;br /&gt;Mes chers et indulgents nouveaux amis &lt;span style="text-decoration: line-through;"&gt;vou&lt;/span&gt; ne m’aviez-vous pas donné l’assurance -- et avec une insistance délicieuse dont je suis très touchée -- que nos divergences en politique ne nuisaient pas à &lt;span style="text-decoration: line-through;"&gt;n&lt;/span&gt; votre amitié ? Et d’autre part, ne suis-je pas habituée depuis la guerre (et même bien avant) à un isolement ˆd’idéesˆ plus ou moins grand même parmi mes plus chers amis? Isolement qui, pendant la guerre, m’a fait comprendre combien était grande la fidélité de ceux qui ne s’étaient pas éloignés de moi. Isolement qui, en ce moment &lt;span style="text-decoration: line-through;"&gt;et&lt;/span&gt; dans ce pays-ci pèse par un silence glacial sur toute question publique… &lt;br /&gt;Alors, n’est-ce pas, je comprends que vous continuez à me donner votre amitié, et malgré mon silence (qui tient aussi à l’impossibilité &lt;span style="text-decoration: line-through;"&gt;de&lt;/span&gt; de toucher à certains sujets&amp;nbsp;&lt;span style="text-decoration: line-through;"&gt;!&lt;/span&gt; dans ma correspondance) vous comprendrez que je tiens énormément à la garder… &lt;br /&gt;Et à venir passer à Fresnay plus que deux ou trois jours seulement, si vous aurez [avez] de la place pour moi au commencement de Juillet… &lt;br /&gt;Oui, chère Madame Noufflard, combien nous détestons le type &lt;em&gt;Mme Aksakof&lt;/em&gt;&amp;nbsp;! Combien de mal ont fait et font ces femmes là tout en se faisant adorer par ceux qu’elles rendent malheureux et si souvent injustes envers d’autres… Que ce type là de femme supérieure et sensible ait gardé un si grand prestige malgré ses dévastations morales et intellectuelles &lt;span style="text-decoration: line-through;"&gt;est bien ce qui&lt;/span&gt; explique certaines idées qui peuvent choquer mes amis (pas vous!) dans mon petit &lt;em&gt;Proteus&lt;/em&gt;… &lt;br /&gt;Voilà que mon cerveau (ou ma cervelle !) s’échauffe et que mes idées s’embrouillent, ce qui m’arrive dans l’état d’anémie où je me trouve, (mais dont je compte bientôt sortir, de même qu’on sort des suites d’une grippe) --&lt;br /&gt;Alors, pour le moment, adieu chers amis Noufflard&amp;nbsp;! &lt;br /&gt;L’arrivée du petit tableau me donnera l’occasion de vous écrire bientôt, et d’une façon moins idiote. Je ne connaissais guère Filippo Giuliani, mais je sais combien de place il occupait dans votre vie. Je n’ai pas osé écrire à sa mère ; j’ai prié Nannina d’être mon porte-voix. Mme Giuliani m’avait semblé étonnamment vieillie et comme accablée l’an dernier. Pauvre gens ! &lt;br /&gt;Yours affly V. P.&lt;/div&gt;</text>
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Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
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                    <text>Gagel, Amanda (ed.), Sophie Geoffroy (assoc. ed.), &lt;em&gt;Selected Letters of Vernon Lee 1856-1935&lt;/em&gt;, volume I (1865-1884), London and New York: Routledge, "The Pickering Masters", 2016.</text>
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&#13;
Indiquer l'auteur suivi de la date de la transcription (format français &amp; entre parenthèse).&#13;
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                      <text>&lt;p&gt;[&lt;em&gt;Written across the first page in red ink&lt;/em&gt;:]&lt;/p&gt;&#13;
&lt;p&gt;&lt;br /&gt;On account of the wet weather they have not yet finsihed the cast from the little Orphans copy&lt;br /&gt;&lt;br /&gt;Flor. Jan. 9. 80&lt;/p&gt;&#13;
&lt;p&gt;My dearest Mary. You seem to want an answer to your postcard; So I won’t delay. Dearest little Princess Quesara, I can’t tell you how sweet I think of you to want to dedicate that poem to your Vernon, nor how much pleasure it would give me to see my name associated with the one that is always uppermost in my thoughts.&lt;/p&gt;&#13;
&lt;p&gt;Also, as a writer,&lt;span style="text-decoration: line-through;"&gt; I&lt;/span&gt; my vanity would be extremely gratified, because I do so completely believe in you as an artist; and it would also be a sort of friendly introduction into a world into which my intention has been (&amp;amp; is) to get by mere solitary battering.&lt;/p&gt;&#13;
&lt;p&gt;But there seem to me several reasons against it. Some perhaps absurd, but one which I think you should certainly take into consideration. As the book as a whole is dedicated to an old friend &amp;amp; encourager of yours,&amp;nbsp;would there not be something – how shall I express it?- something strange in any portion being dedicated to someone else, especially a someone else of whom you had never heard when you probably decided to whom to dedicate the whole?&lt;/p&gt;&#13;
&lt;p&gt;I don’t know the etiquette or the &lt;em&gt;rationnel &lt;/em&gt;of dedication: of course the effect depends on what is or is not the custom. I should be horribly sorry if you did anything which you might afterwards regret, --I think at this moment, when you care for me as you do, you can scarcely judge fairly of what you might afterwards think on the subject. Also, I don’t think you will ever have reasons to be ashamed of &lt;em&gt;me&lt;/em&gt;.&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: line-through;"&gt;As the&lt;/span&gt; as to what I feel; but from one of the things you have said &amp;amp; from my knowledge of my own temper, perhaps you may later have occasion to hear me blamed &amp;amp; blame me yourself for what you might think a crude &amp;amp; unwomanly way of speaking: you know that on that point there is a difference in our temper or our education (I felt it dreadfully, to my disadvantage, that evening you went out of the room at Siena, tho’ I afterwards completely sympathised ˰with˰ &amp;amp; admired yr behaviour) – well, perhaps someday you might be sorry to have bracketed yrself with me. And I should be dreadfully sorry at that.&lt;/p&gt;&#13;
&lt;p&gt;You know, or don’t know, that one man, who rather admires me as a writer told me (on my Contemporary articles)&amp;nbsp;that I might give Ouida lessons of impropriety of language: I don’t care a rush for what such folk say, but you &amp;amp; your people might. The principal objection is the filching, as it seems to me, of parts of the book from Mr Symonds.&lt;/p&gt;&#13;
&lt;p&gt;Dearest Mary, it costs me a great deal to say this, because I should dearly like the thing. But I think I ought to say what occurs to me. The intention in itself is more than I could hope; and it will be very pleasant for me to think, if ever I hear that poem praised, of the time when I told you the story out of Cinthis; that very happy time on the bench on the Uffizzi stairs, which is so short a time since, but seems so infinitely long ago.&lt;/p&gt;&#13;
&lt;p&gt;Do just as you think proper; I am too selfish to say deliberately &lt;em&gt;no&lt;/em&gt; to what I should like; only I must suggest my doubts to you.&lt;/p&gt;&#13;
&lt;p&gt;It is very kind of you to send me the photographs, which I suppose will come tomorrow. I hope, dear that some day you will show me the originals, as I showed you the pictures at Siena.&lt;/p&gt;&#13;
&lt;p&gt;I have been feeling very ungrateful &amp;amp; discontented of late; seeing a good many people; coming home in the evening from people who are so friendly &amp;amp; encouraging to me, I yet feel a sort of rage at the notion that they are what I must live with always ˰all year round˰, weekly, daily, and that the one person I care most for I can barely hope to see for a few short days every two or three years. I can’t say how much touched I am every time I think of that sentence about the picture of the lamps at Siena.&lt;/p&gt;&#13;
&lt;p&gt;Did I thank your sister &lt;span style="text-decoration: line-through;"&gt;abo&lt;/span&gt; for her likeness? Tell me about Miss Poynter; I fear she w&lt;sup&gt;d&lt;/sup&gt; very much disapprove of my ways if she knew them.&lt;/p&gt;&#13;
&lt;p&gt;Goodbye dearest Mary&lt;/p&gt;&#13;
&lt;p&gt;Always yr Vernon&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;div&gt;&lt;br /&gt;&#13;
&lt;div&gt;&lt;/div&gt;&#13;
&lt;div&gt;&lt;/div&gt;&#13;
&lt;div&gt;&lt;/div&gt;&#13;
&lt;div&gt;&#13;
&lt;p&gt;&lt;/p&gt;&#13;
&lt;/div&gt;&#13;
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&lt;div&gt;Paris, le 31 Août 1870.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Ma bien chère Violette,&lt;/div&gt;
&lt;div&gt;Tes lettres me font un grand plaisir. Ton imagination est aussi féconde que le format de ton papier est grand. Ce dernier est superbe. -- on pourrait en faire un cerf-volant.-- Que veux-tu que je te dise? Il n'y a pas de nouvelles. Cette guerre tourne la tête à tout le monde. Hier nous avons reçu une lettre de six pages&lt;/div&gt;
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&lt;div&gt;consistant entièrement d'affreuses prophéties de la fin du monde et menaçant Lord L. de tous les châtiments imaginables s'il n'arrête pas la guerre sur le champ. L'auteur de cette lettre ajoute qu'il en écrit de pareilles tous les jours au Roi de Prusse, à l'Empereur et à la Reine d'Angleterre.--&lt;/div&gt;
&lt;div&gt;Au revoir mon enfant. Je n'ai pas le temps de t'écrire plus cette fois ci.&lt;/div&gt;
&lt;div&gt;Ton Eugene&lt;/div&gt;
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&lt;div&gt;Tours, le 11 Novembre 1870.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Ma bien chère Violette,&lt;/div&gt;
&lt;div&gt;Il m'est très difficile de trouver un moment pour t'écrire, d'autant plus que les lettres que je t'écris sont en général purement des épîtres de luxe. Nous ne nous entretenons que de philosophie, de littérature et d'art.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;J'ai reçu ta lettre de Milan en même temps que celle de Berne, ce qui me fait croire qu'il se pourrait exister quelque léger dérangement dans les postes de ce pays.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Je viens de recevoir de Barron une copie des quinze premières lignes de l'article sur "Ba le Sixte Quint de Hübner. Je m'étais flatté un moment que cet article pût être le mien, mais je viens d'être&lt;/div&gt;
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&lt;div&gt;Les châteaux en Espagne valent &lt;del rend="double" class="double del null"&gt;mieux&lt;/del&gt; plus que ceux des autres pays. Il est vrai qu'on n'a guère le temps de s'y installer avant la fin du bail, mais le séjour n'y &lt;del rend="double" class="double del null"&gt;en&lt;/del&gt; est pas moins agréable.&lt;/div&gt;
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&lt;div&gt;Tu n'as pas bien saisi le caractère de la coiffure &lt;del rend="double" class="double del null"&gt;vadésianne&lt;/del&gt;. des habitants&lt;/div&gt;
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&lt;div/&gt;
&lt;div&gt;Nous avons beaucoup de travail ici, Dieu merci. Je dis Dieu merci, parce que si nous n'en avions pas, je ne sais guère ce que nous ferions. --Le manque de compagnons agréables et sympathiques est une source de regrets, mais on pourrait bien s'y résigner. Ce qui est bien plus difficile à supporter c'est l'entourage continuel de personnes qui sont tout ce qu'il y a de plus antipathique, --de vous trouver à côté d'elles à table trois fois par jour et de ne jamais pouvoir les regarder sans &lt;del rend="double" class="double del null"&gt;qu'un&lt;/del&gt; qu'il ne vous vienne un vif désir de les étrangler.--&lt;/div&gt;
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&lt;div&gt;En attendant que les semaines qui nous séparent &lt;del rend="double" class="double del null"&gt;s'éco&lt;/del&gt; se soient&lt;/div&gt;
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                          <text>&lt;body xmlns="http://www.tei-c.org/ns/1.0" xmlns:xi="http://www.w3.org/2001/XInclude" xmlns:svg="http://www.w3.org/2000/svg" xmlns:math="http://www.w3.org/1998/Math/MathML"&gt;&lt;div&gt;écoulées, je me plais à faire des rêves au &lt;del rend="double" class="double del null"&gt;s&lt;/del&gt; sujet de mon séjour à Rome.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Cette fois-ci nous irons partout, nous verrons tout; nous tâcherons de profiter avec énergie de tout ce que Rome offre de séduisant et d'instructif.--&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Je compte aussi m'appliquer pendant ce séjour à &lt;del rend="double" class="double del null"&gt;l&lt;/del&gt; une étude approfondie de l'italien. On peut faire beaucoup de progrès en deux mois. --quant à toi je t'engage d'en faire de même.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;A propos de chiens, &lt;del rend="double" class="double del null"&gt;il&lt;/del&gt; Lord Lyons en a un dont on s'occupe --entre nous soit dit -- beaucoup trop..&lt;/div&gt;
&lt;div&gt;Eh bien ce chien (qui ressemble aux chiens de Vaudeleur sans en avoir ni la beauté ni la petitesse) --a accompagné Lord L. en Allemagne, et la nécessité&lt;/div&gt;
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&lt;div/&gt;
&lt;div&gt;Voilà ce que c'est que d'être le chien d'un ambassadeur!--&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Puisque nous causons de chiens je te dirai en passant qu'il fait ici un temps dignes de ces animaux. Il a neigé un peu cette nuit. --&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Adieu ma bien bonne&lt;/div&gt;
&lt;div&gt;Ecris moi bien souvent.&lt;/div&gt;
&lt;div&gt;Ton frère dévoué&lt;/div&gt;
&lt;div&gt;Eugene&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Nous venons de planter deux arbres&lt;/div&gt;
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&lt;div&gt;L'arbre qui était plus ou moins chancelant s'est abattu sur ma tête, mais comme il est encore jeune et léger il ne m'a pas sérieusement démoli..&lt;/div&gt;
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&lt;div&gt;Versailles, le 3 Juin 1871&lt;/div&gt;
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&lt;div&gt;Ma toute chère Violette,&lt;/div&gt;
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&lt;div&gt;Quand on se dit tout ce qu’on a à se dire en anglais, ou [où] diable trouver de quoi dire en français. Je ne puis pourtant pas traduire tout bonnement la lettre à Maman qui accompagne celle-ci. J’écris à la fenêtre et je cherche en vain un sujet dans la rue. Qu’y vois-je ? Un café entouré de petites tables rondes à une de ces tables j’aperçois un officier et un Monsieur qui n’a rien du tout de remarquable. Que se disent-ils ? Ma foi je n’en sais rien, mais il me semble d’après ses gestes que l’officier raconte au Monsieur la campagne de Crimée. Ils en sont évidemment&lt;/div&gt;
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&lt;div/&gt;
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&lt;div&gt; Je suis charmé que tu aies entrepris un ouvrage sur Métastase. Seulement pas trop de traductions. Comme modèle de style, tu ne saurais rien trouver de meilleur que ce que tu as toi-même écrit l’année passée à Paris au sujet du théâtre italien au dernier siècle . Continues [continue] sur ce même&lt;/div&gt;
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&lt;div&gt;Ton Eugène&lt;/div&gt;
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                      <text>MeWC&#13;
Versailles, le 3 Juin 1871&#13;
Ma toute chère Violette,&#13;
Quand on se dit tout ce qu’on a à se dire en anglais, ou [où] diable trouver de quoi dire en français. Je ne puis pourtant pas traduire tout bonnement la lettre à Maman qui accompagne celle-ci. J’écris à la fenêtre et je cherche en vain un sujet dans la rue. Qu’y vois-je ? Un café entouré de petites tables rondes à une de ces tables j’aperçois un officier et un Monsieur qui n’a rien du tout de remarquable. Que se disent-ils ? Ma foi je n’en sais rien, mais il me semble d’après ses gestes que l’officier raconte au Monsieur la campagne de Crimée. Ils en sont évidemment à la bataille de l’Alma. Non, c’est la prise de Malakoff. Comment, encore un verre de bière ? Mais il en a déjà pris quatre… Mais après tout ça le regarde. Que vois-je encore ? Un cheval qu’on veut faire monter en omnibus. Non, je me trompe, le cheval s’en va, l’omnibus reste. L’officier paie sa bière. Est-il avare, il n’a laissé qu’un sou pour le garçon. Je vois aussi une vieille femme qui vend des journaux. Décidément ça n’est pas amusant. Passons à autre chose.&#13;
	Je suis charmé que tu aies entrepris un ouvrage sur Métastase. Seulement pas trop de traductions. Comme modèle de style, tu ne saurais rien trouver de meilleur que ce que tu as toi-même écrit l’année passée à Paris au sujet du théâtre italien au dernier siècle . Continues [continue] sur ce même ton et tu produiras quelque chose de remarquable et d’attrayant. Que je t’envie, ma chère Violette ! Á propos, si tu veux je t’enverrai mon Roman dès que tu seras arrivée dans un lieu fixe. Il est à Paris, mais je me le ferai apporter par Henry. Tu y trouveras peutêtre [peut-être] quelque intérêt. Quant à tes idées sur le roman en général, je te crois capable de construire un nouveau système, mais c’est dommage d’abandonner ton Roman de Gabriele et Checco. Vraiment tes lettres me font honte. Elles sont si intéressantes, si charmantes, et les miennes !&#13;
Ton Eugène&#13;
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&lt;div&gt;Versailles.&lt;/div&gt;
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&lt;div&gt;Le 9 Juin 1871&lt;/div&gt;
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&lt;div&gt;Ma bien chère Violette.&lt;/div&gt;
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&lt;div&gt;Je ne puis quitter Versailles, c’est la consigne, je ne puis par conséquent &lt;del rend="double" class="double del null"&gt;pas&lt;/del&gt; me faire le plaisir (et c’en eût été un très grand) de te chercher ce que tu me demandes au quai Voltaire. Reste encore à savoir si le quai Voltaire &lt;del rend="double" class="double del null"&gt;est&lt;/del&gt; existe encore, ce qui est fort douteux, car tout ce quartier y inclus la Rue du Bac, est incendié.    &lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;&lt;del rend="double" class="double del null"&gt;Vu que&lt;/del&gt; Voici ce que je me propose de faire : envoyer chercher à Paris les deux volumes &lt;del rend="double" class="double del null"&gt;de l’Encyclopédie&lt;/del&gt; du Dictionnaire qui contiennent les articles&lt;/div&gt;
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&lt;div/&gt;
&lt;div&gt; As-tu lu un Roman anglais qui a paru récemment et que Tauchnitz a publié, qui s’appelle « Love the Avenger » ? Ce roman est par Mme Blaze de Bury. Cette femme doit être très remarquable. Elle écrit des livres en anglais, en français et &lt;del rend="double" class="double del null"&gt;en allemand&lt;/del&gt; avec la même facilité. Je&lt;/div&gt;
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&lt;div&gt;Quant à Montigny je suis à peu près de ton avis ; mais il faut faire la part et une large part de la ˆsaˆ nationalité et de son éducation. Montigny a toutes les qualités qui distinguent le Français –l’esprit, l’exagération, l’ignorance de l’étranger ; comme&lt;/div&gt;
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&lt;div&gt;Strasbourg a fait une défense très médiocre. Eh bien il fallait absolument couler la statue de Strasbourg en bronze. Aujourd’hui on n’en parle plus. La trahison de Jules Favre est à l’ordre du jour. Hier c’était Ollivier, demain ce sera Thiers.    &lt;/div&gt;
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&lt;div&gt;Me voici donc seul à Versailles –espèce de chargé d’affaires sans affaires. Toutefois si quelqu’un s’avise de me demander où est l’ambassade d’Angleterre, je lui répondrai très gravement à la Louis XIV : « L’ambassade d’Angleterre c’est moi ».&lt;/div&gt;
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&lt;div&gt;Adieu adieu, ton Eugène&lt;/div&gt;
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&#13;
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                      <text>MeWC&#13;
Versailles&#13;
Le 9 Juin 1871&#13;
Ma bien chère Violette.&#13;
Je ne puis quitter Versailles, c’est la consigne, je ne puis par conséquent pas me faire le plaisir (et c’en eût été un très grand) de te chercher ce que tu me demandes au quai Voltaire. Reste encore à savoir si le quai Voltaire est existe encore, ce qui est fort douteux, car tout ce quartier y inclus la Rue du Bac, est incendié.&#13;
	Vu que Voici ce que je me propose de faire : envoyer chercher à Paris les deux volumes de l’Encyclopédie du Dictionnaire qui contiennent les articles Sacchi et Métastase et te mander ce que j’y trouve. Il est probable que je me trouverai pour au moins une demi journée à Paris avant peu, et je te promets de fouiller ˆalorsˆ ce qui reste du quai Voltaire.&#13;
	As-tu lu un Roman anglais qui a paru récemment et que Tauchnitz a publié, qui s’appelle « Love the Avenger » ? Ce roman est par Mme Blaze de Bury. Cette femme doit être très remarquable. Elle écrit des livres en anglais, en français et en allemand avec la même facilité. Je t’avoue que je crois qu’il faut se méfier de ces ˆgrandsˆ talents polyglottes. Il est rare que ce soit des gens de génie. Du reste Mme B. de B. paraît être tant soit peu une intrigante politique. Elle a dit-on une connaissance très approfondie des partis qui se divisent partagent la France. Je finirai par faire connaissance avec elle et sa famille, je suppose.&#13;
	Quant à Montigny je suis à peu près de ton avis ; mais il faut faire la part et une large part de la ˆsaˆ nationalité et de son éducation. Montigny a toutes les qualités qui distinguent le Français –l’esprit, l’exagération, l’ignorance de l’étranger ; comme tous ses compatriotes il ne voit dans les désastres de la France que trahison et méchanceté. En définitive les Français sont le peuple le plus puéril du monde, tout en étant le plus spirituel. Ils ont une vanité inouïe, colossale. C’est cette vanité qui se fait dicte ce fameux télégramme qui disait quelques jours avant la capitulation de Paris : « Paris est magique, régénéré, antique ».&#13;
	Strasbourg a fait une défense très médiocre. Eh bien il fallait absolument couler la statue de Strasbourg en bronze. Aujourd’hui on n’en parle plus. La trahison de Jules Favre est à l’ordre du jour. Hier c’était Ollivier, demain ce sera Thiers.&#13;
	Me voici donc seul à Versailles –espèce de chargé d’affaires sans affaires. Toutefois si quelqu’un s’avise de me demander où est l’ambassade d’Angleterre, je lui répondrai très gravement à la Louis XIV : « L’ambassade d’Angleterre c’est moi ».&#13;
Adieu adieu, ton Eugène&#13;
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                          <text>&lt;body xmlns="http://www.tei-c.org/ns/1.0" xmlns:xi="http://www.w3.org/2001/XInclude" xmlns:svg="http://www.w3.org/2000/svg" xmlns:math="http://www.w3.org/1998/Math/MathML"&gt;&lt;div&gt;Me WC&lt;/div&gt;
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&lt;div&gt;Paris, le 31 Octobre 1871&lt;/div&gt;
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&lt;div&gt;Lundi matin.&lt;/div&gt;
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&lt;div&gt;Ma bien chère Violette.&lt;/div&gt;
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&lt;div&gt;Hier je suis allé avec Montigny et les Castillons au Louvre, où nous avons vu un musée que je ne connaissais pas encore, celui des statues modernes. J’entends par moderne ce qui date des 17ème, &lt;del rend="double" class="double del null"&gt;et&lt;/del&gt; 18ème et 19ème siècles. &lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Que je regrette, mon amie, que nous [ne] soyons pas allés ensemble avant notre/votre départ pour la Suisse ! Tu ne peux t’imaginer ce qu’il y a là de belles choses. Il y a d’abord pas mal de statues du 17ème siècle à la Bernini, notamment celles de Puget, qui sont sans doute fort elles, mais qui sont trop agitées,&lt;/div&gt;
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                          <text>Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle)</text>
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                          <text>Fiche : Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle). Licence Creative Commons Attribution – Partage à l’Identique 3.0 (CC BY-SA 3.0 FR)</text>
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                          <text>&lt;body xmlns="http://www.tei-c.org/ns/1.0" xmlns:xi="http://www.w3.org/2001/XInclude" xmlns:svg="http://www.w3.org/2000/svg" xmlns:math="http://www.w3.org/1998/Math/MathML"&gt;&lt;div&gt;trop complexes pour me plaire beaucoup. Mais ce qui m’a vraiment ravi ce sont &lt;del rend="double" class="double del null"&gt;les&lt;/del&gt; ˆdeuxˆ superbes statues en bronze, le Mercure attachant ses talonnières, de Rude, et la Diane de Houdon. Ces deux statues ont quelque chose de classique que je n’ai &lt;del rend="double" class="double del null"&gt;jamais&lt;/del&gt; rencontré que &lt;del rend="double" class="double del null"&gt;dans&lt;/del&gt; ˆchezˆ le Persée de Canova. La Diane est toute nue, et est représentée courant, tenant d’une main son arc, de l’autre une flèche. Elle ne tient au piédestal que par le bout &lt;del rend="double" class="double del null"&gt;d’un&lt;/del&gt; du pied droit et qui ne semble pas l’effleurer. Avec le marbre, il eût fallu des appuis, un tronc d’arbre, un levier, que sais-je, pour&lt;/div&gt;
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                          <text>Fiche : Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle). Licence Creative Commons Attribution – Partage à l’Identique 3.0 (CC BY-SA 3.0 FR)</text>
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&lt;div&gt;J’ai aussi découvert l’autre jour au Louvre le musée des bronzes antique [antiques], qui contient&lt;/div&gt;
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&lt;div&gt;M. de Castillon, qui malgré sa liaison avec Mme de Belle, continue à ce que me dit Montigny à aller dans le monde, m’a fait hier des offres très &lt;del rend="double" class="double del null"&gt;empressées&lt;/del&gt; ˆaimablesˆ de me présenter cet hiver chez plusieurs de ses parents et amis du faubourg St Germain, et de me procurer au jusqu’à trois ou quatre &lt;del rend="double" class="double del null"&gt;xxxx&lt;/del&gt; ˆinvitationsˆ. J'ai nauturellement accepté ces &lt;del rend="double" class="double del null"&gt;prom&lt;/del&gt; offres avec empressement; mais je suis sur mes gardes, et je sais ce que ˆvalent très souventˆ de telles promesses. – &lt;del rend="double" class="double del null"&gt;valent&lt;/del&gt; Toutefois je n’en suis pas fâché.    &lt;/div&gt;
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&lt;div&gt;J’attends Montigny pour aller faire une promenade. –C’est un&lt;/div&gt;
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&lt;div&gt;Ta dernière lettre, où tu me donne [donnes] une espèce d’épitaphe de Pinelli m’a bien amusé. Je suis bien aise que tu aies pu passer quelques temps à Milan, à Parme et à Bologne. Que je regrette de ne pas avoir été avec vous !&lt;/div&gt;
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&lt;div&gt;Adieu ma bonne Violette&lt;/div&gt;
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&lt;div&gt;Ton Eugène&lt;/div&gt;
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                      <text>MeWC&#13;
Paris, le 31 Octobre 1871&#13;
Lundi matin&#13;
Ma bien chère Violette.&#13;
Hier je suis allé avec Montigny et les Castillons au Louvre, où nous avons vu un musée que je ne connaissais pas encore, celui des statues modernes. J’entends par moderne ce qui date des 17ème, et 18ème et 19ème siècles.&#13;
	Que je regrette, mon amie, que nous [ne] soyons pas allés ensemble avant notre/votre départ pour la Suisse ! Tu ne peux t’imaginer ce qu’il y a là de belles choses. Il y a d’abord pas mal de statues du 17ème siècle à la Bernini, notamment celles de Puget, qui sont sans doute fort elles, mais qui sont trop agitées, trop complexes pour me plaire beaucoup. Mais ce qui m’a vraiment ravi ce sont les ˆdeuxˆ superbes statues en bronze, le Mercure attachant ses talonnières, de Rude, et la Diane de Houdon. Ces deux statues ont quelque chose de classique que je n’ai jamais rencontré que dans ˆchezˆ le Persée de Canova. La Diane est toute nue, et est représentée courant, tenant d’une main son arc, de l’autre une flèche. Elle ne tient au piédestal que par le bout d’un du pied droit et qui ne semble pas l’effleurer. Avec le marbre, il eût fallu des appuis, un tronc d’arbre, un levier, que sais-je, pour balancer la statue sur une seule jambe et tout l’effet eût été perdu. Il y a aussi dans la même salle cette belle statue ˆde Canovaˆ que vous avez vue dans une villa du lac de Côme, et que nous avons revue chez Tadolini, je veux dire avec le Cupidon et Psyche de Canova. Celle que j’ai vue hier est apparemment l’original, car rien n’indique qu’elle ne soit une copie ˆetˆ elle y est exposée avec le nom de Canova et la date. Peutêtre [Peut-être] plusieurs exemplaires de cette statue sont-ils sortis de l’atelier du maître ?&#13;
	J’ai aussi découvert l’autre jour au Louvre le musée des bronzes antique [antiques], qui contient des choses très intéressantes et très belles. C’est assez curieux qu’il y ait à Rome si peu en fait de bronzes antiques. Il n’y a que je sache, que la statue équestre de Marc Aurèle, et un débris de cheval da au musée du Capitole. Et pourtant les Anciens et surtout les Romains étaient très forts en ce genre. Au Louvre il y a plusieurs statues intactes d’une grande beauté, notamment un Apollon, et quelques têtes d’empereurs, xxxx, entre autres, deux belles têtes de Tibère et de Caligula. Il y a aussi quantité de statuettes d’un fort beau travail, et une belle collection de vases et d’autres utensils [ustensiles] de bronze. J’y ai même remarqué un casque. &#13;
	En somme je t’avoue que je commence à prendre un gout [goût] très prononcé pour le bronze.&#13;
	M. de Castillon, qui malgré sa liaison avec Mme de Belle, continue à ce que me dit Montigny à aller dans le monde, m’a fait hier des offres très empressées ˆaimablesˆ de me présenter cet hiver chez plusieurs de ses parents et amis du faubourg St Germain, et de me procurer au jusqu’à trois ou quatre xxxx ˆinvitationsˆ. Mais je suis sur mes gardes, et je sais ce que ˆvalent très souventˆ de telles promesses. – valent Toutefois je n’en suis pas fâché.&#13;
	J’attends Montigny pour aller faire une promenade. –C’est un camarade très agréable, très cordial et surtout très comique ; je crois décidément qu’il a bon cœur ; mais il est, comme la plupart des personnes qui brillent par l’esprit, un peu léger, et il reste à savoir s’il pourra se mettre sérieusement au travail, et faire quelque chose d’utile.&#13;
	Ta dernière lettre, où tu me donne [donnes] une espèce d’épitaphe de Pinelli m’a bien amusé. Je suis bien aise que tu aies pu passer quelques temps à Milan, à Parme et à Bologne. Que je regrette de ne pas avoir été avec vous !&#13;
Adieu ma bonne Violette&#13;
Ton Eugène&#13;
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&lt;div&gt;Paris&lt;/div&gt;
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&lt;div&gt;Le 17 novembre 1871&lt;/div&gt;
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&lt;div&gt;Ma bien chère Violette,&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Depuis ton arrivée à Rome tu ne m’écris que bien rarement. Je sais que je n’ai guère le droit de m’en plaindre vu le peu de lettre [lettres] que je t’écris.  &lt;/div&gt;
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&lt;div&gt;Je vois par une charmante lettre que j’ai reçue de maman ce matin, que tu as repris tes leçons de piano. J’en suis bien aise, et j’allais même te demander plusieurs explications au sujet de tes études. Je suppose que tu n’as pas repris tes leçons avec ce fat de Tirinelli, mais quelles démarches avez-vous faites pour trouver un maître plus sympathique ?&lt;/div&gt;
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                          <text>&lt;body xmlns="http://www.tei-c.org/ns/1.0" xmlns:xi="http://www.w3.org/2001/XInclude" xmlns:svg="http://www.w3.org/2000/svg" xmlns:math="http://www.w3.org/1998/Math/MathML"&gt;&lt;div&gt;Tu sais le grand intérêt que je porte à ce sujet : réponds moi donc de la manière la plus complète.&lt;/div&gt;
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&lt;div&gt;Hier je suis allé voir Mme Turner et Ruffini. Figure toi que ce dernier vient de s’acheter une perruque. Elle lui va très bien, ne le change guère, et est naturellement grise. – Je ne l’aurais à vrai dire &lt;del rend="double" class="double del null"&gt;à pe&lt;/del&gt; pas remarquée, s’il ne m’eût pas demandé si je ne lui trouvais pas quelque changement.&lt;/div&gt;
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&lt;div&gt;Après ma visite, je suis allé avec Alfred Turner dîner à un restaurant. C’est un homme des plus sympathiques, rempli de poésie et &lt;del rend="double" class="double del null"&gt;de&lt;/del&gt; en même temps de bon sens pratique. –Il aime ˆpourtantˆ beaucoup&lt;/div&gt;
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&lt;div&gt;Il te porte, ainsi que M. Ruffini et Mme Turner, un très grand intérêt : aussi ne manquent-ils jamais tous les trois de se renseigner sur tes projets et tes occupations.&lt;/div&gt;
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&lt;div&gt;Les Cousines arrivent le 25. Le mariage d’Arthur se fera le 30. Je t’en &lt;del rend="double" class="double del null"&gt;rendr&lt;/del&gt; enverrai une description.&lt;/div&gt;
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&lt;div&gt;–Voilà à peu près tout, ma bien bonne petite Violette, que j’aie à te raconter aujourd’hui. Je pourrais il est vrai y ajouter quelques petits détails de la vie privée, tels que l’explosion subite et inexpliquée de mon fourneau de cuisine et la fumigation persistante de mon appartement par une cheminée malveillante.&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;—Adieu ma très chère&lt;/div&gt;
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&lt;div&gt;Je t’embrasse mille et mille fois&lt;/div&gt;
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                      <text>MeWC&#13;
&#13;
Paris&#13;
Le 17 novembre 1871&#13;
Ma bien chère Violette,&#13;
Depuis ton arrivée à Rome tu ne m’écris que bien rarement. Je sais que je n’ai guère le droit de m’en plaindre vu le peu de lettre [lettres] que je t’écris.&#13;
	Je vois par une charmante lettre que j’ai reçue de maman ce matin, que tu as repris tes leçons de piano. J’en suis bien aise, et j’allais même te demander plusieurs explications au sujet de tes études. Je suppose que tu n’as pas repris tes leçons avec ce fat de Tirinelli, mais quelles démarches avez-vous faites pour trouver un maître plus sympathique ? Tu sais le grand intérêt que je porte à ce sujet : réponds moi donc de la manière la plus complète.&#13;
Hier je suis allé voir Mme Turner et Ruffini. Figure toi que ce dernier vient de s’acheter une perruque. Elle lui va très bien, ne le change guère, et est naturellement grise. – Je ne l’aurais à vrai dire à pe pas remarquée, s’il ne m’eût pas demandé si je ne lui trouvais pas quelque changement.&#13;
Après ma visite, je suis allée avec Alfred Turner dîner à un restaurant. C’est un homme des plus sympathiques, rempli de poésie et de en même temps de bon sens pratique. –Il aime ˆpourtantˆ beaucoup la métaphysique, et s’occupe avec passion de s questions telles que celle de savoir ce que c’est que la matière, l’âme, la vie future –choses que nous n’avons pas à mon avis le moyen de comprendre, et qu’il vaudrait mieux par conséquent ne pas aborder. Aus Aussi ne le suis-je sur ce terrain qu’avec difficulté.&#13;
Il te porte, ainsi que M. Ruffini et Mme Turner, un très grand intérêt : aussi ne manquent-ils jamais tous les trois de se renseigner sur tes projets et tes occupations.&#13;
Les Cousines arrivent le 25. Le mariage d’Arthur se fera le 30. Je t’en rendr enverrai une description. –&#13;
Voilà à peu près tout, ma bien bonne petite Violette, que j’aie à te raconter aujourd’hui. Je pourrais il est vrai y ajouter quelques petits détails de la vie privée, tels que l’explosion subite et inexpliquée de mon fourneau de cuisine et la fumigation persistante de mon appartement par une cheminée malveillante.—&#13;
Adieu ma très chère&#13;
Je t’embrasse mille et mille fois&#13;
Ton Eugène&#13;
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&lt;div&gt;Paris, le 17 décembre 1871&lt;/div&gt;
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&lt;div&gt;Ma bien chère Violette.&lt;/div&gt;
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&lt;div&gt;Ne prends jamais de café quand tu dînes en ville, ça mène directement à une catastrophe. Tu t’imagines peut-être que je fais allusion à un de ces bouleversements intérieur [intérieurs] auxquels le corps humain le mieux constitué ne peut toujours résister. Eh bien non, il ne s’agit pas de cela, mais d’un cataclysme réel, extérieur, celui en un mot du café même, &lt;del rend="double" class="double del null"&gt;xxx&lt;/del&gt; suivi de sa tasse, de sa soucoupe et de sa cuillère. C’est ce qui m’est arrivé trois fois depuis quelque temps, et c’est ce qui t’arrivera certainement à toi aussi, si tu n’y prends pas garde. Ecoute et profite de mon malheur.    &lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;La première occasion où j’ai&lt;/div&gt;
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&lt;div&gt;Le deuxième malheur de ce &lt;del rend="double" class="double del null"&gt;genre&lt;/del&gt; genre m’est arrivé il y a quelques jours. Je dînais ce soir-là chez Lord Lyons, et je me reposais des fatigues du repas dans un fauteuil &lt;del rend="double" class="double del null"&gt;de soie&lt;/del&gt; recouvert de soie lilas. Je tenais entre mes mains une tasse de ce méchant café noir que&lt;/div&gt;
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&lt;div&gt;Le lendemain, après avoir dîné chez les Castillon, je jugeai à propos de raconter cette histoire, que tout le monde trouva plaisante. J’étais debout devant la cheminée du salon, et je tenais entre mes mains la tasse de café traditionnelle. J’étais justement arrivé dans mon récit à l’endroit où la tasse m’échappe des doigts, lorsque, ô surprise ! ô terreur ! celle que je tenais actuellement frémit, s’inclina et dégringola sur un magnifique tapis d’Aubusson.    &lt;/div&gt;
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&lt;div&gt;Nous nous précipitâmes de tous les côtés pour trouver des éponges et des serviettes. Les domestiques&lt;/div&gt;
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&lt;div&gt;lancèrent des torrents d’eau froide sur le malheureux tapis, tandis que moi je l’arrosai de mes larmes. Mais, hélas, ne [nous] ne réussîmes qu’à nous donner des rhumes de cerveau. le [Le]tapis n’y gagna rien.    &lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Voilà pourquoi je te conjure de ne jamais prendre du café noir.    &lt;/div&gt;
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&lt;div&gt;Adieu ma bien chère&lt;/div&gt;
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&lt;div&gt;Je t’embrasse mille fois&lt;/div&gt;
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&lt;div&gt;Ton Eugène&lt;/div&gt;
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                        <text>De la guerre de 1870 à la Commune de Paris: lettres à sa famille</text>
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&#13;
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&#13;
Ma bien chère Violette.&#13;
Ne prends jamais de café quand tu dînes en ville, ça mène directement à une catastrophe. Tu t’imagines peut-être que je fais allusion à un de ces bouleversements intérieur [intérieurs] auxquels le corps humain le mieux constitué ne peut toujours résister. Eh bien non, il ne s’agit pas de cela, mais d’un cataclysme réel, extérieur, celui en un mot du café même, xxx suivi de sa tasse, de sa soucoupe et de sa cuillère. C’est ce qui m’est arrivé trois fois depuis quelque temps, et c’est ce qui t’arrivera certainement à toi aussi, si tu n’y prends pas garde. Ecoute et profite de mon malheur.&#13;
	La première occasion où j’ai laissé échapper de mes mains la maudite tasse, c’est lorsque j’en ai versé le contenu sur le pantalon que porte mon collègue Brabazon. Tu dois t’en souvenir, car il n’y a pas longtemps. Il a eu l’amabilité de m’assurer qu’il s’en trouvait très bien, et que son pantalon n’en acquérait qu’un plus grand chic. J’en suis donc resté quitte au prix de quelques compliments.&#13;
	Le deuxième malheur de ce genre genre m’est arrivé il y a quelques jours. Je dînais ce soir-là chez Lord Lyons, et je me reposais des fatigues du repas dans un fauteuil de soie recouvert de soie lilas. Je tenais entre mes mains une tasse de ce méchant café noir que le diable seul est à même de préparer ; et ne me doutant de rien je le caressais tendrement, c’est à dire que je le remuais lentement pour tempérer ses ardeurs et faire fondre le sucre. Tout à coup, o [ô] horreur, la tasse s’affa[isse] et chancèle (comme dit Musset dans le Pélican) et dépose la moitié du café entre mes jambes sur le coussin du fauteuil. C’est te dire que je me trouvais agréablement assis sur une mare de mokas. Toutefois je contins mon émotion et ne poussai aucun cri. J’avais sur mes genoux mon chapeau claque ; et je m’en servis en guise de rideau et de mon mouchoir en guise d’éponge. Je parvins au bout d’un certain temps à me sécher les cuisses et le fauteuil, mais la tache est indélébile. &#13;
	Le lendemain, après avoir dîné chez les Castillon, je jugeai à propos de raconter cette histoire, que tout le monde trouva plaisante. J’étais debout devant la cheminée du salon, et je tenais entre mes mains la tasse de café traditionnelle. J’étais justement arrivé dans mon récit à l’endroit où la tasse m’échappe des doigts, lorsque, ô surprise ! ô terreur ! celle que je tenais actuellement frémit, s’inclina et dégringola sur un magnifique tapis d’Aubusson.&#13;
	Nous nous précipitâmes de tous les côtés pour trouver des éponges et des serviettes. Les domestiques lancèrent des torrents d’eau froide sur le malheureux tapis, tandis que moi je l’arrosai de mes larmes. Mais, hélas, ne [nous] ne réussîmes qu’à nous donner des rhumes de cerveau. le [Le]tapis n’y gagna rien.&#13;
	Voilà pourquoi je te conjure de ne jamais prendre du café noir.&#13;
	Adieu ma bien chère&#13;
Je t’embrasse mille fois&#13;
Ton Eugène&#13;
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&#13;
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                    <text>Geoffroy, Sophie (ed.), Amanda Gagel (assoc. ed.), &lt;em&gt;Selected Letters of Vernon Lee 1856-1935, Volume II (1885-1889)&lt;/em&gt;, London and New York: Routledge, "The Pickering Masters", 2020.</text>
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                      <text>&lt;p&gt;Florence 30 Dec 85.&lt;/p&gt;&#13;
&lt;p&gt;My darling – Many thanks for your Xmas letter and for the dear little etchings, which I shall have framed.&lt;/p&gt;&#13;
&lt;p&gt;I seem to feel a sort of vague depression throughout your letter. I like to know when you are cheerful, dear child, &amp;amp; when you are depressed ; but I also like to know, if possible, why.&lt;/p&gt;&#13;
&lt;p&gt;What is all this rubbish about being selfish &amp;amp; jealous ? If it is about me that you are jealous, it is just absurd. I either found the people who suit me best, in the XXX , at once, or else, as I grow older, I become less able to find real people to suit me. Personally, being the least/most jealous of mortals, I think jealousy contemptible particularly in friendship : a feeling evolved for the benefit of married people lest other folks’ babies should be foisted on them ! And which has somehow crept into other relations ; useful there, I suppose, to keep one up to the mark &amp;amp; to prevent all things turning stale ; also useful I think, or affording the salutary or damnable flash in which one sees the beloved’s faults, in which one’s heart is set free (which it ought always to be) and one’s ideal is killed off, to reincarnate elsewhere – If in the meanwhile it afford you any satisfaction to know that I have found no one to care for more than you, &amp;amp; that it is much more than improbable I ever shall, accept this scientific fact.&lt;/p&gt;&#13;
&lt;p&gt;If, on the other hand, as I suspect, your depression &amp;amp; consequent sense of unworthiness/depression makes me think other folks unworthy) arises, as most things arise, from a different cause than you suppose --, if it is that you are beginning again to care for my friend, philosophically console yourself by considering that reciprocity of feeling is the first step on the fatal road where the ideal is lost. What I say sounds cynical, but it is not. I am not depressed about any one save myself, and the apparent uselessness with which I am threatened, &amp;amp; which I must circumvent to some degree.&lt;/p&gt;&#13;
&lt;p&gt;The reading of Bourget’s very marvellous book has made me feel that there wd be little satisfaction in feeling oneself to be a remarkable intellect, an exquisite writer, a professionnal success, an amiable creature, unless one could find the handle of that pump that Hercules worked, &amp;amp; turn all the oceans into this filthy world, particularly the filthy land of France, to clean the place &amp;amp; drown the intelligent vermin which infest it. Faugh ! That paper on Dumas Fils ! That disease, called La Femme – a disease of the French brain &amp;amp; heart. I don’t know when I have felt so sick. But wd Some things I can stand in patience ; &amp;nbsp;but when it comes to these dirty buster insulting what it, after all, the least dirty thing in this dirty world, womankind, in order to exonerate themselves.&lt;/p&gt;&#13;
&lt;p&gt;It strikes me you may be fancying yourself jealous of Miss Blomfield. She gave me a spasme psychologique for ten days – interest in her curious chivalric, Brangwain[1] sort of soul – a spasm of vanity too at her adoration of me. But that’s all. I am ashamed to think how little affection I feel for this amiable creature. She is, apart from her very decided literary gift &amp;amp; her strange Brangwain character, not a fleur pour porter à sa boutonnière, and you know that I want such things.&lt;/p&gt;&#13;
&lt;p&gt;She is astonishingly below the average in appearance, manners, education &amp;amp; interest in things. She is very ill, poor girl, anaemic &amp;amp; hysterical &amp;amp; has had many misfortunes ; but she is so without natural energy, &amp;amp; so has evidently always lived with such fearful frumps &amp;amp; stupids (sic) of the clerical sort, that she is below not only her talents, but below, so to speak, her own misfortunes &amp;amp; merits.&lt;/p&gt;&#13;
&lt;p&gt;I suspect Mary Wakefield has simply got bored to extinction with her absolute want of anything external that can take the imagination &amp;amp; the presence of much that worries it. Fortunately I am more honest than I suspect her to be ; I always held back &amp;amp; told the girl the only way I could take an interest in her was to try to make me more of what her talents &amp;amp; character warrant. I shall certainly be loyal &amp;amp; do my best by her, but sentiment, sentimental sentiments (sic), particularly I can have only for people who/&lt;/p&gt;&#13;
&lt;p&gt;have something obviously &amp;amp; patently superior to myself ; who have an influence of some sort upon me, enlarge my world or my power of seeing.&lt;/p&gt;&#13;
&lt;p&gt;This letter reads like a model of cynicism &amp;amp; &amp;nbsp;conceit ; yet I am neither cynical nor conceited.&lt;/p&gt;&#13;
&lt;p&gt;Tell me I am a beast ; and I shall laugh in your face ! be quite pleased. # I must be off to the hospital now ; it is bitterly cold &amp;amp; the people are dying there very quickly.&lt;/p&gt;&#13;
&lt;p&gt;I haven’t been allowed to see Bella yet.&lt;/p&gt;&#13;
&lt;p&gt;Thank M. Geo. Macmillan when you see him for his kind note. I wrote on behalf of Mrs Callander.&lt;/p&gt;&#13;
&lt;p&gt;Goodbye darling Mouse, love your&lt;/p&gt;&#13;
Old Vernon</text>
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Photographie, diapositive, etc. (iconographie)&#13;
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Journal, magazine, revue, etc. (presse)</description>
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&#13;
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Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
Indiquer volume, tome ou collection si nécessaire….&#13;
&#13;
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Carte plastifiée (dossier biographique), négatif, etc. (iconographie)&#13;
Autre support : enregistrement sonore, vidéo, etc.</description>
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                    <text>Montericco, near Imola &lt;br /&gt;Sept 27. XXV &lt;br /&gt;Dearest Mary, you will want to know my further adventures ? I think I wrote you from Zurich, telling you how I had crumpled up &lt;span style="text-decoration: line-through;"&gt;in&lt;/span&gt; after the night journey and had to take a day in bed in my Swiss friend’s most hospitable châlet by the lake. It was only a bad chill, and I was all right next day. And the restfulness of the little white, student’s room (for &lt;span style="text-decoration: line-through;"&gt;it&lt;/span&gt; my friend’s elder son had been turned out for my benefit) with the boy’s books, his foil and neat skull on the porcelain stove. The sense of &lt;em&gt;not going on&lt;/em&gt; was inexpressibly delicious. It is a bore for everyone else, being ill in the house of a friend but there is something nice about it one has’nt in one’s own house. Well! the sense of kindness. And my Swiss friend, who might be - almost my granddaughter, was enchantingly motherly. &lt;br /&gt;My journey was further interrupted by a breakdown of the engine on the Gothard. I arrived in Milan in time to see my train departing for Bologna. I had to go from hotel to hotel begging for a room. And when I got one it was’nt inviting. But I &lt;span style="text-decoration: line-through;"&gt;m&lt;/span&gt; presumed it was a piece of good luck, took a taxi and drove to Sant Ambrogio and the Duomo, and what was better, slept like a sack that night to the clanking and tootling of innumerable tram’s raging round. I was so pleased with myself that next day I actually changed trains twice in order to get two hours at Modena to see the cathedral. I have’nt done anything so adventurous except in Mabel Price’s company for nearly thirty years, and this sense was better than the cathedral, though the cathedral was good. &lt;br /&gt;But as a result of it all, and of the endless chatter and vociferation of Italian hospitality, and also the sudden plunge back into a kind of summer, I am quite imbecile, and must beg forgiveness for this inane letter. &lt;br /&gt;This is a great four-square brick villa, tower-shaped and with a fortress-like buttress, among vineyards and thin woods of oak and cypress on the very lowest spurs of the Apennine near Bologna - the great Venetian place in front of a Pier della Francesca landscape of peaks and dentellations, pale like his pictures, blue and dun, behind. And belongs to Maria Pasolini’s younger son, with charming wife and endless children and nephews and nieces. On Thursday I shall at last get home to my servants and my doctor and I hope my work ! Dear Mary, how can I thank for your dear news ? Yrs V. &lt;br /&gt;[postcard] Imagine the first floor the height of a Paris 3d, the rest to match</text>
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                        <text>Document : Fonds de dotation André et Berthe Noufflard.</text>
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Lettre, carte postale, photo, etc. (correspondance)&#13;
Photographie, diapositive, etc. (iconographie)&#13;
Passeport, carte d'identité, répertoire, agenda, etc. (dossier biographique)&#13;
Journal, magazine, revue, etc. (presse)</description>
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Carte plastifiée (dossier biographique), négatif, etc. (iconographie)&#13;
Autre support : enregistrement sonore, vidéo, etc.</description>
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                    <text>&lt;div style="text-align: justify;"&gt;Nov. 23. XXV&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;R6&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;Very dear Mary. This should be all about your &lt;em&gt;Racine&lt;/em&gt;, but it just is’nt, for my squirrel’s habits are making me hoard that book alone with one or two others against the icy rainy days &lt;span style="text-decoration: line-through;"&gt;whi&lt;/span&gt; which &lt;em&gt;must&lt;/em&gt; come. (At present the vines and poplars are still divinely golden all round and the drives &amp;amp; roads we used to call “Johnnies” after J.S.S.) are putting on vivid streaks after their summer languor). &lt;br /&gt;Well -- I am writing, my dear, to bore you to get the enclosed cheque cashed at your leisures ! and (even more at your leisure !) hand the French equivalent to &lt;em&gt;Fernande&lt;/em&gt; Dauriac. She would find it difficult to cash an English cheque. Also I am anxious not to be sending &lt;em&gt;any&lt;/em&gt; money to her or her Paris milieu, which the papers there are perpetually denouncing as a nest of… well ! free masons.&lt;br /&gt;And ask her, dearest, on no account to write me thanks or make any allusion to it, as her letters are probably opened on arrival by the Tcheka. And tell her, dear, &lt;em&gt;not&lt;/em&gt; to discuss her affairs as she does in a letter received today, she’s very imprudent or I am very cowardly ! &lt;br /&gt;Also, will you be an angel? -- &lt;em&gt;you&lt;/em&gt; can say such things gently and tactfully -- that the pennies are &lt;em&gt;solely&lt;/em&gt; for household expenses or cabs or doctors, in fact to grease their poor wheels, but on no account for any kind of propaganda. I feel more and more that the latter is a relief to their feelings, quite useless in the face of such odds, and possibly getting other people into scrapes. (I feel a horror for the &lt;span style="text-decoration: line-through;"&gt;notion&lt;/span&gt; notion that because A. is willing to risk &lt;span style="text-decoration: line-through;"&gt;a&lt;/span&gt; his skin he has a right to &lt;span style="text-decoration: line-through;"&gt;make&lt;/span&gt; ˆinduceˆ B. to do alike. More and more I am a passive resister, but a resister. And I liked her husband’s resignation immensely. It is a case of Manzoni’s “non far tregua coi vili”. Forgive if this is inflicting a bother &amp;amp; please curb that admirable &amp;amp; interesting but rather indiscreet and over personal friend of ours ! &lt;br /&gt;I have been hunting for Sargent letters. Flora Priestley came for two nights &amp;amp; went through packets &amp;amp; packets, finding a lot of very charming little letters I had completely forgotten ! Incidentally, I had to open some parcels of my own letters to some people in the 80s. Lord ! what a dull, dull (and quite “literary gossipy”&amp;nbsp;Villarish young prig I was. I cannot believe that John’s oil sketch of me could have been like me &lt;em&gt;&lt;span style="text-decoration: underline;"&gt;then&lt;/span&gt;&lt;/em&gt; ! But what these letters show in their dullness (shades of Fanny Burney etc etc !) is &lt;em&gt;your&lt;/em&gt; marvellous sweetness and dearness and how much my mother, who heaven knows was not easy to deal with, loved you. Does everyone think he or she is &lt;span style="text-decoration: line-through;"&gt;to&lt;/span&gt; more tolerable at 70 than at 20 ? It would be a kind of posthumous purification like wings and harps and white garments ! &lt;br /&gt;I am still rather a rag, quite unable to work, and falling back on - of all things - five finger exercises and the difficult passages in Mozart’s quartets. Tell Mathilde ! &lt;br /&gt;Your Noufflards are angelic new friends ! Them also I owe to you and to Mabel. &lt;br /&gt;My love to her and forgive my troubling you. Yrs Vernon&lt;/div&gt;</text>
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&#13;
Indiquer où est hébergé le document et le nom du fonds, avec l’adresse précise si possible.</description>
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Inédit.&#13;
Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
Indiquer volume, tome ou collection si nécessaire….&#13;
&#13;
Une entrée par édition</description>
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&#13;
Indiquer l'auteur suivi de la date de la transcription (format français &amp; entre parenthèse).&#13;
Format : Nom, Prénom (date) &#13;
Une entrée par auteur</description>
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                  <description>Information about rights held in and over the resource</description>
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                      <text>Document: Bibliothèque Nationale de France, Manuscrits</text>
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                      <text>correspondance</text>
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                      <text>critique littéraire</text>
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                      <text>politique (lutte antifasciste)</text>
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                      <text>politique (bolchévisme)</text>
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                      <text>finances</text>
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                      <text>art (peinture)</text>
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                      <text>amitié (John Singer Sargent)</text>
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                      <text>amitié (Fernande Dauriac)</text>
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                      <text>amitié (Mathilde Hecht)</text>
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                      <text>amitié (Berthe Noufflard)</text>
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                      <text>politique (censure)</text>
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                      <text>amitié (André Noufflard)</text>
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                  <description>An entity responsible for making the resource available</description>
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&lt;div style="text-align: justify;"&gt;Dearest Mary. I hav’nt yet finished your &lt;em&gt;Racine&lt;/em&gt;, but I want to tell you my indignation and loathing for the brute = fool reviewer in the &lt;em&gt;Statesman&lt;/em&gt;. It’s merely a display of &lt;span style="text-decoration: underline;"&gt;&lt;em&gt;his&lt;/em&gt;&lt;/span&gt; having read a book about Racine which you don’t happen to mention ; on a par with the way reviewers correct one’s lapsus calami and (as so often !) one’s printer’s errors. Your book, my dear, is a beautiful, interesting, &lt;em&gt;most persuasive&lt;/em&gt; (I mean that you make one take &lt;em&gt;your&lt;/em&gt; view) a most delightful one. And I who say it am very ill-disposed to the Grand Siècle and all its works (except Molière of course! [and] La Fontaine, who owe nothing to it ; as you know Louis XIV is &lt;span style="text-decoration: line-through;"&gt;my&lt;/span&gt; &lt;span style="text-decoration: line-through;"&gt;a&lt;/span&gt; in [without] Patterns to me -- &lt;span style="text-decoration: line-through;"&gt;un&lt;/span&gt; and I cannot &lt;em&gt;see&lt;/em&gt; -- or hear, in Racine anything beyond a (forgive the x sacrilegious words!) local celebrity suited exclusively for home-consumption (your translations often seem ever so much more interesting than the original French verse ! You have given colour, gesture, individuality -- &lt;span style="text-decoration: line-through;"&gt;but&lt;/span&gt; &lt;em&gt;is that because I am English&lt;/em&gt; ?) What I want to say is that your work is wonderfully &lt;em&gt;delightful --&lt;/em&gt; I can find no other word. I was ill-disposed towards it owing to &lt;span style="text-decoration: line-through;"&gt;my av&lt;/span&gt; Racine boring me. And I have really had difficulties in letting the book go, refraining from it at undue moments : I have read it in &lt;span style="text-decoration: line-through;"&gt;the&lt;/span&gt; at meals -- the greatest of compliments, especially while having my solitary tea on the landing which is my winter sittingroom (it sounds cheerless but &lt;span style="text-decoration: underline;"&gt;&lt;em&gt;is&lt;/em&gt;&lt;/span&gt; delightful, warmed by the invisible calorifère and by the sun (when there &lt;span style="text-decoration: underline;"&gt;&lt;em&gt;is&lt;/em&gt;&lt;/span&gt; sun) through a big south window &amp;amp; with a view of Fiesole over cypresses through the (double!) window to the north), and of an evening, by the wood fire in my study, I have found myself (tell it not in [Path] !) laying down &lt;em&gt;Le Côté de Guermantes&lt;/em&gt; to read &lt;em&gt;&lt;span style="text-decoration: underline;"&gt;you&lt;/span&gt;&lt;/em&gt;. By the way this course of (borrowed from Berenson) Proust may account for my involuted style….&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;Dear Mary, your book is delightful ! And I believe every word of it.&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;&lt;span style="text-decoration: line-through;"&gt;And&lt;/span&gt; And it is varied &lt;span style="text-decoration: line-through;"&gt;&amp;amp; alive&lt;/span&gt; : the terrible chapters on the Poisoning scare after the sweetness of Port Royal. ˆYour Racine is perfectly intelligible.ˆ The way you have brought in your &lt;em&gt;Comparses&lt;/em&gt; Madame, Mme de Sévigné, St Cyr etc etc -- Boileau -- all alive.&lt;/div&gt;&#13;
&lt;div style="text-align: justify;"&gt;In short I am very grateful for the pleasure your book is giving me; grateful also for the way you have carried out that tiresome money commission. Grateful for your affection and &lt;em&gt;excellence&lt;/em&gt; dearest Mary. Indeed only one subject for gratitude is still lacking me, viz : that you should come and stay with me under this little roof not shown in this photograph and sit on this bench under the cypresses occupied by the photographer Grizel Bonde. My love and best wishes to Mabel.&lt;/div&gt;&#13;
Yours Vernon &lt;br /&gt;&lt;br /&gt;[caption] Cypresses at end of my grasswalk &amp;amp; towered Villa of Maiano in the distance ; these cypresses are about 200 metres from my house.</text>
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&lt;p&gt;MeWC&lt;/p&gt;
&lt;p&gt;Tours, le 15 Novembre 1870.&lt;/p&gt;
&lt;p&gt;Ma bien chère Violette,&lt;/p&gt;
&lt;p&gt;Je pense beaucoup à toi et au plaisir que j'aurai de te revoir. Je te promets que cette fois nous &lt;del rend="double" class="double del null"&gt;nous&lt;/del&gt; irons partout, nous verrons tout, nous profiterons de tout, et nous étudierons tout. C'est un grand privilège que d'être à Rome, et il faut être à la hauteur de la situation. C'est à dire, il faut tâcher d'obtenir tout le fruit possible de la de ses innombrables objets instructifs. Tu souriras Je  pense, à m'entendre parler ainsi, mais tu dois te souvenir que lorsqu'on est très&lt;/p&gt;
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&lt;p&gt;préoccupé comme lorsque je l'étais la première année ; &lt;del rend="double" class="double del null"&gt;il es&lt;/del&gt; et surtout lorsqu'on a un examen devant soi, il est impossible de faire des études artistiques. Mais déjà &lt;del rend="double" class="double del null"&gt;l’hi&lt;/del&gt; pendant les quelques semaines que j'ai passé à Rome l'hiver passé, j'ai fais un commencement. J'ai lu Ampère et Gibbon et Corinne. C'est déjà quelque chose. Je te recommande de tâcher d'obtenir une connaissance plus ou moins approfondie des principes de l'art. Surtout de l'architecture et du statuaire. Il faut lire sur ce sujet autant&lt;/p&gt;
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&lt;p&gt;que possible. Il ne suffit pas de lire les vagues rêveries artistiques de certains auteurs allemands et anglais. - Il faut étudier les styles, savoir reconnaître les détails, en connaître les noms techniques - en même temps qu'il faut faire des progrès dans l'histoire et la biographie des arts.&lt;/p&gt;
&lt;p&gt;Nous avons en ville une chambre (où Lord Lyons reçoit ses collègues se appartenant à notre propriétaire) où il n'y a pas mal de livres; entre autres, J'y ai trouvé un volume intitulé - Grammaire des arts du dessin - ce qui correspond à ce qu'en anglais&lt;/p&gt;
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&lt;p&gt;nous nommerions plastic arts. Savoir l'architecture, la peinture, et la sculpture.- Tâche donc de te procurer en attendant que je te l'apporte - quelque livre analogue.&lt;/p&gt;
&lt;p&gt;Adieu ma bien bonne, c'est tout ce que j'ai le temps de t'écrire.&lt;/p&gt;
&lt;p&gt;Ton frère dévoué&lt;/p&gt;
&lt;p&gt;Eugene&lt;/p&gt;
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                    <text>&lt;p&gt;MeWC&lt;/p&gt;&#13;
&lt;p&gt;Tours, le 15 Novembre 1870.&lt;/p&gt;&#13;
&lt;p&gt;Ma bien chère Violette,&lt;/p&gt;&#13;
&lt;p&gt;Je pense beaucoup à toi et au plaisir que j'aurai de te revoir. Je te promets que cette fois nous nous irons partout, nous verrons tout, nous profiterons de tout, et nous étudierons&lt;a href="#page1"&gt;&amp;nbsp;&lt;/a&gt;tout. C'est un grand privilège que d'être à Rome, et il faut être à la hauteur de la situation. C'est à dire, il faut tâcher d'obtenir tout le fruit possible de la de ses innombrables obje&lt;strong&gt;ts&lt;/strong&gt; instructifs. Tu souriras Je&lt;a href="#page1"&gt;&amp;nbsp; &lt;/a&gt;pense, à m'entendre parler ainsi, mais tu dois te souvenir que lorsqu'on est très préoccupé comme lorsque je l'étais la première année ; il es et surtout lorsqu'on a un examen devant soi, il est impossible de faire des études artistiques. Mais déjà l’hi pendant les quelques semaines que j'ai passé à Rome l'hiver passé, j'ai fais un commencement. J'ai lu Ampère et Gibbon et Corinne. C'est déjà quelque chose. Je te recommande de tâcher d'obtenir une connaissance plus ou moins approfondie des principes de l'art. Surtout de l'architecture et du statuaire. Il faut lire sur ce sujet autant que possible. Il ne suffit pas de lire les vagues rêveries artistiques de certains auteurs allemands et anglais. - Il faut étudier les styles, savoir reconnaître les détails, en connaître les noms techniques - en même temps qu'il faut faire des progrès dans l'histoire et la biographie des arts. Nous avons en ville une chambre (où Lord Lyons reçoit ses collègues se appartenant à notre propriétaire) où il n'y a pas mal de livres; entre autres, J'y ai trouvé un volume intitulé - Grammaire des arts du dessin - ce qui correspond à ce qu'en anglais nous nommerions plastic arts. Savoir l'architecture, la peinture, et la sculpture.- Tâche donc de te procurer en attendant que je te l'apporte - quelque livre analogue.&lt;/p&gt;&#13;
&lt;p&gt;Adieu ma bien bonne, c'est tout ce que j'ai le temps de t'écrire.&lt;br /&gt;Ton frère dévoué&lt;br /&gt;Eugene&lt;/p&gt;</text>
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                      <text>Document : Courtesy of Special Collections and Archives, Colby College Libraries, Waterville, Maine </text>
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                      <text>Très impatient de tout voir et tout étudier à Rome,  Eugene s'efforce d'approfondir sa connaissance des arts, chose impossible durant ses études à Oxford et encourage Violet à faire de même. Il a lu Ampère, Gibbon, Corinne et veut connaître les termes techniques, styles et détails de l'architecture, la sculpture, l'histoire de l'art. Il lit la Grammaire des arts du dessin et engage Violet à faire une lecture similaire.</text>
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                          <text>Fiche : Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle). Licence Creative Commons Attribution – Partage à l’Identique 3.0 (CC BY-SA 3.0 FR)</text>
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&lt;div&gt;Versailles, le 27 Mai 1871&lt;/div&gt;
&lt;div/&gt;
&lt;div&gt;Ma bien chère Violette,Jamais je ne me suis senti si peu capable de t'écrire une bonne lettre et pourtant jamais je n'ai pensé autant avec plus d'affection et plus souvent. Hier soir tout le ciel du côté de Paris était embrasé. C'est encore quelque énorme incendie, mais je ne sais ˆdeˆ quel édifice. La lueur montait et s'abattait d'une façon épouvantable et paraissait pour ainsi dire battre des ailes. Il ne reste des Tuileries que les murs extérieurs. Le dôme central s'est effondré tout de suite. Les galeries du Louvre sont sauvées heureusement. S'il en eut été autrement, on eut peutêtre [peut-être] trouvé la Vénus de Milo d'ici à deux mille ans sous des ruines incon sans nom. Les évènements de l'année&lt;/div&gt;
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&lt;div/&gt;
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                          <text>Fiche : Holographical-Lee, Sophie Geoffroy, Université de La Réunion ; projet EMAN (Thalim, ENS-CNRS-Sorbonne nouvelle). Licence Creative Commons Attribution – Partage à l’Identique 3.0 (CC BY-SA 3.0 FR)</text>
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                          <text>&lt;body xmlns="http://www.tei-c.org/ns/1.0" xmlns:xi="http://www.w3.org/2001/XInclude" xmlns:svg="http://www.w3.org/2000/svg" xmlns:math="http://www.w3.org/1998/Math/MathML"&gt;&lt;div&gt;nous montrent que les triomphes de l'art ne jouissent que de bien peu de sécurité au dixneuvieme [dix-neuvième] siècle, et que tout peut périr avec une rapidité effrayante.Si tu voyais comme moi des quartiers entiers de plus belle ville du monde broyés, pulvérisés, si tu voyais des palais, des villas, des centaines de maison de campagne qui attiraient tous les regards l'année dernière réduits précisément à l'état du palais des Césars, tu comprendrais ce dernier bien mieux qu'à présent et tu te rendrais compte de ce que c'est qu'un monde qui s'écroule. Les &lt;del rend="double" class="double del null"&gt;armes&lt;/del&gt; ˆdestructeursˆ ont ˆaujourd'huiˆ des moyens bien autrement&lt;/div&gt;
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&lt;div&gt;Adieu ma bien bonne&lt;/div&gt;
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                    <text>MeWC&#13;
&#13;
Versailles, le 27 Mai 1871&#13;
Ma bien chère Violette,&#13;
Jamais je ne me suis senti si peu capable de t'écrire une bonne lettre et pourtant jamais je n'ai pensé autant avec plus d'affection et plus souvent.&#13;
Hier soir tout le ciel du côté de Paris était embrasé. C'est encore quelque énorme incendie, mais je ne sais ˆdeˆ quel édifice. La lueur montait et s'abattait d'une façon épouvantable et paraissait pour ainsi dire battre des ailes. Il ne reste des Tuileries que les murs extérieurs. Le dôme central s'est effondré tout de suite. Les galeries du Louvre sont sauvées heureusement. S'il en eut été autrement, on eut peutêtre [peut-être] trouvé la Vénus de Milo d'ici à deux mille ans sous des ruines incon sans nom. Les évènements de l'année nous montrent que les triomphes de l'art ne jouissent que de bien peu de sécurité au dixneuvieme [dix-neuvième] siècle, et que tout peut périr avec une rapidité effrayante.&#13;
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Cet après midi je m'étais conse M. de Lespérut et moi étions convenus d'aller aux Trianons, et puis de dîner ensemble. Mais je crains qu'il ne fasse trop mauvais temps. Le parc de Versailles te plairait beaucoup. Les proportions en sont superbes. C’est surtout ces grands bassins et ces allées qui s'étendent en ligne droite à perte de vue, ces statues semées à pleines mains dans les bosquets et dont la plupart me sont familières. (j'y ai même rencontré les principales statues de la Villa Ludovisi). Ces fontaines bizarres et grandioses qui donnent à Versailles son ˆgrandˆ air. – Peutêtre [peut-être] pourront-nous y être tous ensemble l'année prochaine. &#13;
Adieu ma bien bonne&#13;
Ton Eugene&#13;
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                      <text>Me WC&#13;
&#13;
Versailles, le 27 Mai 1871&#13;
Ma bien chère Violette,&#13;
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Cet après midi je m'étais conse M. de Lespérut et moi étions convenus d'aller aux Trianons, et puis de dîner ensemble. Mais je crains qu'il ne fasse trop mauvais temps. Le parc de Versailles te plairait beaucoup. Les proportions en sont superbes. C’est surtout ces grands bassins et ces allées qui s'étendent en ligne droite à perte de vue, ces statues semées à pleines mains dans les bosquets et dont la plupart me sont familières. (j'y ai même rencontré les principales statues de la Villa Ludovisi). Ces fontaines bizarres et grandioses qui donnent à Versailles son ˆgrandˆ air. – Peutêtre [peut-être] pourront-nous y être tous ensemble l'année prochaine. &#13;
Adieu ma bien bonne&#13;
Ton Eugene&#13;
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                <description>Format à utiliser : Nom, Prénom&#13;
Hormis la majuscule à la première lettre, ne pas utiliser la majuscule.&#13;
Vous pouvez mettre les dates de naissance et de mort, entre parenthèses après le nom de l’auteur si ce n'est pas l'auteur décrit dans la collection&#13;
Si la lettre a plusieurs destinataires, mettre un nom par entrée. &#13;
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Inédit.&#13;
Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
Indiquer volume, tome ou collection si nécessaire….&#13;
&#13;
Une entrée par édition</description>
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                <name>Destinataire</name>
                <description>Format à utiliser : Nom, Prénom&#13;
Hormis la majuscule à la première lettre, ne pas utiliser la majuscule.&#13;
Vous pouvez mettre les dates de naissance et de mort, entre parenthèses après le nom de l’auteur si ce n'est pas l'auteur décrit dans la collection&#13;
Si la lettre a plusieurs destinataires, mettre un nom par entrée. &#13;
Si l'identification d'un éventuel surnom ou pseudonyme n'a pas été possible, on l'indiquera dans le champ DC « Description »</description>
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Inédit.&#13;
Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
Indiquer volume, tome ou collection si nécessaire….&#13;
&#13;
Une entrée par édition</description>
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Inédit.&#13;
Nom, Prénom (de l’auteur), Titre de la publication, Lieu, Maison d’édition, Date.&#13;
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&#13;
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&#13;
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Vous pouvez mettre les dates de naissance et de mort, entre parenthèses après le nom de l’auteur si ce n'est pas l'auteur décrit dans la collection&#13;
Si la lettre a plusieurs destinataires, mettre un nom par entrée. &#13;
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                <description>Format à utiliser : Nom, Prénom&#13;
Hormis la majuscule à la première lettre, ne pas utiliser la majuscule.&#13;
Vous pouvez mettre les dates de naissance et de mort, entre parenthèses après le nom de l’auteur si ce n'est pas l'auteur décrit dans la collection&#13;
Si la lettre a plusieurs destinataires, mettre un nom par entrée. &#13;
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                      <text>Geoffroy, Sophie (édition scientifique)</text>
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                      <text>Fonds de dotation André et Berthe Noufflard</text>
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