interest may be enjoyed separately and
in detail; but finally the graphic purpose yields to the decorative, and
the details take their place as parts of the total design. Thus a Gothic
cathedral conveys its complete and true impression first and last as
form. Midway we may set ourselves to a reading of the details. The
figure of this saint on the jamb or the archivolt of the portal is
expressive of such simple piety and enthusiasm! In this group on the
tympanum what animation and spirit! This moulding of leaves and
blossoms is cut with such loving fidelity and exquisite feeling for
natural truth! But at the last the separate members fulfill their
appointed office as they reveal the supreme function of the living
total form.

Music, too, in some of its manifestations, as in song, the opera, and
programme music, has a representative and illustrative character. In
Chopin's "Funeral March" we hear the tolling of church bells, and it
is easy to visualize the slow, straggling file of mourners following
the bier; the composition here has a definite objective base drawn
from external fact, and the "idea" is not exclusively musical, but
admits an infusion of pictorial and literary elements. In listening to
the love duet of the second act of "Tristan," although the lovers are
before us in actual presence on the stage, I find myself involuntarily
closing my eyes, for the music is so personal and so spiritualized, it
is in and of itself so intensely the realization of the emotion, that the
objective presentment of it by the actors becomes unnecessary and is
almost an intrusion. The representative, figurative element in music
may be an added interest, but its appeal is intellectual; if as we hear
the "Funeral March," we say to ourselves, This is so and so, and,
Here they do this or that, we are thinking rather than feeling. Music
is the immediate expression of emotion communicated immediately;
and the composition will not perfectly satisfy unless it is _music,_
compelling all relations of melody, harmony, and rhythm into a
supreme and triumphant order.

Whereas the representative arts are based upon objective fact,
drawing their "subjects" from nature and life external to the artist; in
decoration, in architecture, and in music the artist creates his own
forms as the projection of his emotion and the means of its
expression. Richard Wagner, referring to the composition of his
"Tristan," writes: "Here, in perfect trustfulness, I pl