27 MARITAIN, JACQUES. Creative Intuition in Art and Poetry.

New York: Meridian M8,

1955 (1953). 334 pp. Pap.
"This is the first volume of the A. W. Mellon Lectures in the Fine Arts, which are
delivered annually at the National Gallery of Art, Washington."

Marginal linings on pp. 123, 148. Underlining: pp. 126, 146, 151, 162, 164-65.

"We may observe at this point that art endeavors to imitate in its own way the
conditions peculiar to the pure spirits: it draws beauty from ugly things and monsters, it tries
to overcome the division between beautiful and ugly by absorbing ugliness in a superior
species of beauty, and by transferring us beyond the (aesthetic) beautiful and ugly"
(underlined, p. 126).
"St. Thomas insisted that art imitates nature in her operationnot in respect to natural
appearances, but in respect to the ways in which nature herself operates" (underlined,
pp. 164-65).

274 PEPPER, STEPHEN C, The Basis of Criticism in the Arts, Preface and introduction
Pepper. Cambridge: Harvard University Press, 194 1. 177 viii pp. W/o dj.

Signed, dated October 1946.

Marginal linings on pp. 7 52, 65. Underlinings on pp, 4, 6, 52, 65, 68, 69, 71, 74, 8z, 83
89, 98, 101, 102, 103, 105, 112, 146, 148, 149, 156-57, 164, i66, 170, 171. Check marks on
pp. 23, 77, 89, 158. Marginalia: "Imp.," p. 31; "Croce in the woodpile," p, 87; "therefore not
mutually exclusive with the mechanist distinction of art and non art," p. 1.o5; "differing in
kind as well as degree," p. 157. Question mark on pp. 156, 166.

"Structural corroboration is the corroboration of fact with fact. It is not a multiplicity
of observations of one identical fact, but an observed convergence of many different facts
towards one result. We have a crude use of it in what we call circumstantial evidence, where a
variety of different circumstances all point to a single conclusion" (marginal lining, p. 7).
"Nothing has less to do with the real merit of a work of imagination than the capacity
of all men to appreciate it; the true test is the degree and kind of satisfaction it can give to him
who appreciates it most" (quoting Santayana; underlining, p. 52).
The critic "is to judge the degree of realization of experience achieved by an artist--the
vividness and the spread of it. He will consider whether the artist has made the most of his
emotional material, or has gone beyond the limits of aesthetic endurance and destroyed
aesthetic distance, He will show the relation of the work to its social context. He will consider
the suitability of the structure of the work, And for the benefit of the spectator he will analyze
the structure and exhibit its details, so that these will not be missed and may be funded in the
full realization of the work in its total fused quality" (underlined, p. 68).
"The perception of a work of art is clearly the awareness of the quality of a situation"
(underlining, p. 69).
... the aesthetic work of art is the cumulative succession of intermittent perceptions"
(underlining, p. 71).
"The only adequate judgment of a work of art, therefore, is one based on the fullest
realization of it, on a perception