Art

Now since architecture is an art and is essentially a reasoned state of capacity to make, and there is neither any art that is not such a state nor any such state that is not an art, art is identical with a state of capacity to make, involving a true course of reasoning. All art is concerned with coming into being, i.e. with contriving and considering how something may come into being which is capable of either being or not being, and whose origin is in the maker and not in the thing made; for art is concerned neither with things that are, or come into being, by necessity, nor with things that do so in accordance with nature (since these have their origin in themselves). Making and acting being different, art must be a matter of making, not of acting.

The healthy subject is produced as the result of the following train of thought:-since this is health, if the subject is to be healthy this must first be present, e.g. a uniform state of body, and if this is to be present, there must be heat; and the physician goes on thinking thus until he reduces the matter to a final something which he himself can produce. Then the process from this point onward, i.e. the process towards health, is called a ‘making’. Therefore it follows that in a sense health comes from health and house from house, that with matter from that without matter; for the medical art and the building art are the form of health and of the house, and when I speak of substance without matter I mean the essence.

Art is nothing else but “the right reason about certain works to be made.” And yet the good of these things depends, not on man's appetitive faculty being affected in this or that way, but on the goodness of the work done. For a craftsman, as such, is commendable, not for the will with which he does a work, but for the quality of the work. Art, therefore, properly speaking, is an operative habit. And yet it has something in common with the speculative habits: since the quality of the object considered by the latter is a matter of concern to them also, but not how the human appetite may be affected towards that object. For as long as the geometrician demonstrates the truth, it matters not how his appetitive faculty may be affected, whether he be joyful or angry: even as neither does this matter in a craftsman, as we have observed. And so art has the nature of a virtue in the same way as the speculative habits, in so far, to wit, as neither art nor speculative habit makes a good work as regards the use of the habit, which is the property of a virtue that perfects the appetite, but only as regards the aptness to work well.