For instance, Croce has studied Mr. B.
Bosanquet's eclectic works on Aesthetic, largely based upon German
sources and by no means without value. But he takes exception to Mr.
Bosanquet's statement that _he_ has consulted all works of importance on
the subject of Aesthetic. As a matter of fact, Mr. Bosanquet reveals his
ignorance of the greater part of the contribution to Aesthetic made by
the Neo-Latin races, which the reader of this book will recognize as of
first-rate importance.
This thoroughness it is which gives such importance to the literary and
philosophical criticisms of _La Critica_. Croce's method is always
historical, and his object in approaching any work of art is to classify
the spirit of its author, as expressed in that work. There are, he
maintains, but two things to be considered in criticizing a book. These
are, _firstly_, what is its _peculiarity_, in what way is it singular,
how is it differentiated from other works? _Secondly_, what is its
degree of purity?--That is, to what extent has its author kept himself
free from all considerations alien to the perfection of the work as an
expression, as a lyrical intuition? With the answering of these
questions Croce is satisfied. He does not care to know if the author
keep a motor-car, like Maeterlinck; or prefer to walk on Putney Heath,
like Swinburne. This amounts to saying that all works of art must be
judged by their own standard.
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