[308] example, and I think you will like it when next week we will show you pictures and their analysis, in terms of the categories which I give you in the lecture itself. In a picture, let us say a Dutch landscape, which most of you probably know---there you have trees, beautiful old trees, you would like them if you see them in nature---roads, sand, colors, clouds, beautiful sky usually, rivers, old mills, or whatever it may be. But I mean now a GOOD

picture, by [Jacob van] Ruisdael ^a[1628-1682], or some other great painter. Now what happens if you look at such a picture? Do you say this is a good, desirable place to take a walk?---or as the Americans would say, to drive in and read the New York Times? [laughter]. Or is there something else which is happening? I think if we analyze ourselves, we immediately are clear: there is something else happening. These trees, these greens and grays and browns and blues and forms stand for a level of reality which is opened up by them, by the artistic form which the great artist has given to them, and which without them you wouldn't even find, if there were a photographically very similar landscape somewhere in the world---which is usually not so, but even if it were so. This is the element of pointing-beyond-it. The natural colors and lines which you have even in the most abstract painting, the non-representative painting, still natural colors, our values, our relation to each other, the forms in which they appear, are given to us. They point to a dimension of reality which otherwise is hidden to us and which cannot be reached in any other way than in this way. Now if this is true---and I will carry this through later on in many different respects---then we can say: in every art, the materials taken from the perceived world point beyond themselves, but they do not point to something which is