by a study of the spirit of the originals.

It has appeared expedient to conclude this introduction with a summary of
the latest and highest theory of art and aesthetics issuing from Kant and
Schiller, and developed in the later philosophy of Hegel.

Our space only allows us to give a glance, first, at the metaphysics of
the beautiful as developed by Hegel in the first part of his 'Aesthetik,'
and then at the later development of the same system in recent writers
issuing from his school.

Hegel considers, first, the abstract idea of the beautiful; secondly,
beauty in nature; thirdly, beauty in art or the ideal; and he winds up
with an examination of the qualities of the artist.

His preliminary remarks are directed to show the relations of art to
religion and philosophy, and he shows that man's destination is an
infinite development. In real life he only satisfies his longing
partially and imperfectly by limited enjoyments. In science he finds a
nobler pleasure, and civil life opens a career for his activity; but he
only finds an imperfect pleasure in these pursuits. He cannot then find
the ideal after which he sighs. Then he rises to a higher sphere, where
all contradictions are effaced and the ideas of good and happiness are
realized in perfect accord and in constant harmony. This deep want of
the soul is satisfied in three ways: in art, in religion, and in
philosophy.

Art is intended to make us contemplate the true and the infinite in forms
of sense. Yet even art does not fully satisfy the deepest need of the
soul. The soul wants to contemplate truth in its inmost consciousness.
Religion is placed above the dominion of art.

First, as to idea of the beautiful, Hegel begins by giving its
characteristics. It is infinite, and it is free; the contemplation of
the beautiful suffices to itself, it awakens no desire. The soul
experiences something like a godlike felicity and is transported into a
sphere remote from the miseries of life. This theory of the beautiful
comes very near that of Plato.

Secondly, as to beauty in nature. Physical beauty, considered
externally, presents itself successively under the aspects of regularity
and of symmetry, of conformity with a law, and of harmony, also of purity
and simplicity of matter.

Thirdly, beauty in art or the ideal is beauty in a higher degree of
perfection than real beauty. The ideal in art is not contrary to the
real, but the real idealized, purified, and perfectl