One highly conspicuous crop of examples of mental phenomena related to the non-existent is of course yielded by our experience of works of art. It is therefore somewhat surprising that Meinong himself does not apply his theory of non-existent objects to the working out of a detailed theory of the ontology and psychology of aesthetic phenomena. This task was however carried out by one of his most prominent disciples, Stephan Witasek, in his masterly Grundzüge der allgemeinen A " sthetik of 1904. What follows is an attempt to make sense of the Witasekian aesthetics, particularly.
