In this paper (which is for the most part confined to a consideration of pictorial art and in which the term psycho-analysis is used in a very wide sense) the author expresses a regret that psycho-analytic interpretations should have been for the most part concerned with the content or meaning rather than with the sensuous form of the work of art, though it is suggested that the work of such writers as Jane Harrison and F. M. Cornford have begun to show the way to an analytic interpretation of the 'set traditional form' or 'ritual mode' used in Greek drama.

The writer herself, we are told, approached the study of Aesthetics through the problem of empathy and is inclined to believe with Vernon Lee that visible forms largely owe their æsthetic significance to our 'attribution (to them) of the modes of our dynamic experience', especially experience of movement. She suggests that the study of dreams (particularly flying dreams) would probably afford some useful material for the