After poetry, if we take charm and mental stimulation into account, I would give the next place to that art which comes nearer to it than to any other art of speech, and admits of very natural union with it, namely the art of tone. For though it speaks by means of mere sensations without concepts, and so does not, like poetry, leave behind it any food for reflection, still it moves the mind more diversely, and, although with transient, still with intenser effect. It is certainly, however, more a matter of enjoyment than of culture- the play of thought incidentally excited by it being merely the effect of a more or less mechanical association- and it possesses less worth in the eyes of reason than any other of the fine arts. Hence, like all enjoyment, it calls for constant change, and does not stand frequent repetition without inducing weariness. Its charm, which admits of such universal communication, appears to rest on the following facts. Every expression in language has an associated tone suited to its sense. This tone indicates, more or less, a mode in which the speaker is affected, and in turn evokes it in the hearer also, in whom conversely it then also excites the idea which in language is expressed with such a tone. Further, just as modulation is, as it were, a universal language of sensations intelligible to every man, so the art of tone wields the full force of this language wholly on its own account, namely, as a language of the affections, and in this way, according to the law of association, universally communicates the aesthetic ideas that are naturally combined therewith. But, further, inasmuch as those aesthetic ideas are not concepts or determinate thoughts, the form of the arrangement of these sensations (harmony and melody), taking the place of the form of a language, only serves the purpose of giving an expression to the aesthetic idea of an integral whole of an unutterable wealth of thought that fills the measure of a certain theme forming the dominant affection in the piece. This purpose is effectuated by means of a proposition in the accord of the sensations (an accord which may be brought mathematically under certain rules, since it rests, in the case of tones, upon the numerical relation of the vibrations of the air in the same time, so far as there is a combination of the tones simultaneously or in succession). Although this mathematical form is not represented by means of determinate concepts, to it alone belongs the delight which the mere reflection upon such a number of concomitant or consecutive sensations couples with this their play, as the universally valid condition of its beauty, and it is with reference to it alone that taste can lay claim to a right to anticipate the judgement of every man.
But mathematics, certainly, does not play the smallest part in the charm and movement of the mind produced by music. Rather is it only the indispensable condition (conditio sine qua non) of that proportion of the combining as well as changing impressions which makes it possible to grasp them all in one and prevent them from destroying one another, and to let them, rather, conspire towards the production of a continuous movement and quickening of the mind by affections that are in unison with it, and thus towards a serene self-enjoyment.
If, on the other hand, we estimate the worth of the fine arts by the culture they supply to the mind, and adopt for our standard the expansion of the faculties whose confluence, in judgement, is necessary for cognition, music, then, since it plays merely with sensations, has the lowest place among the fine arts- just as it has perhaps the highest among those valued at the same time for their agreeableness. Looked at in this light, it is far excelled by the formative arts. For, in putting the imagination into a play which is at once free and adapted to the understanding, they all the while carry on a serious business, since they execute a product which serves the concepts of understanding as a vehicle, permanent and appealing to us on its own account, for effectuating their union with sensibility, and thus for promoting, as it were, the urbanity of the higher powers of cognition. The two kinds of art pursue completely different courses. Music advances from sensations to indefinite ideas: formative art from definite ideas to sensations. The latter gives a lasting impression, the former one that is only fleeting. The former sensations imagination can recall and agreeably entertain itself with, while the latter either vanish entirely, or else, if involuntarily repeated by the imagination, are more annoying to us than agreeable. Over and above all this, music has a certain lack of urbanity about it. For owing chiefly to the character of its instruments, it scatters its influence abroad to an uncalled-for extent (through the neighbourhood), and thus, as it were, becomes obtrusive and deprives others, outside the musical circle, of their freedom. This is a thing that the arts that address themselves to the eye do not do, for if one is not disposed to give admittance to their impressions, one has only to look the other way. The case is almost on a par with the practice of regaling oneself with a perfume that exhales its odours far and wide. The man who pulls his perfumed handkerchief from his pocket gives a treat to all around whether they like it or not, and compels them, if they want to breathe at all, to be parties to the enjoyment, and so the habit has gone out of fashion.
Among the formative arts I would give the palm to painting: partly because it is the art of design and, as such, the groundwork of all the other formative arts; partly because it can penetrate much further into the region of ideas, and in conformity with them give a greater extension to the field of intuition than it is open to the others to do. 

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