Bauhaus-Universität Weimar

of the aesthetically hideous. But the fragrance of fruits and 
spices very nearly approaches the requisite freedom from 
life-serving function ; because the taste which it suggests is 
of the kind least intimately connected with organic wants. 
And when we pass on from these lower instances to those 
sweet odours which are utterly unconnected with the organs 
of digestion, such as the perfume of a rose, a violet, or a 
lily-of-the-valley, the smell of new-mown hay, the aroma of 
newly-ploughed land, we feel that these, even in the ac- 
— « 
tuality, are in almost every respect raised into the aesthetic 
class. Moreover, the perfume-exciting qualities of the rose 
or the violet are not destroyed in the act of smelling them, as 
the taste-exciting qualities of a peach or a pear are destroyed 
in the act of eating them. So that we have here, to a con¬ 
siderable extent, that absence of monopoly which we saw to 
be one of the distinguishing marks of aesthetic objects. And 
if these objects in the actuality arouse feelings so nearly 
approaching the aesthetic level, we naturally find their ideal 
representation entering largely into the composition of 
Poetry. Of course here, too, we must make great allow¬ 
ances for beauty of form and colour, but we cannot doubt 
that some part in the poetical effectiveness of fragrant 
flowers must be attributed to the sense of Smell 
§ 4. Cookery and Perfumery. 
There are two arts which, though not aesthetic, stand in 
the same relation to the senses of Taste and Smell as paint¬ 
ing and music do to those of sight and hearing. Conse¬ 
quently, they throw a little light upon the purely aesthetic


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