transparent than the phenomena of the real world or the events of
history. The mind finds it harder to pierce through the hard envelop of
nature and common life than to penetrate into works of art.

Two more reflections appear completely to meet the objection that art or
aesthetics is not entitled to the name of science.

It will be generally admitted that the mind of man has the power of
considering itself, of making itself its own object and all that issues
from its activity; for thought constitutes the essence of the mind. Now
art and its work, as creations of the mind, are themselves of a spiritual
nature. In this respect art is much nearer to the mind than nature. In
studying the works of art the mind has to do with itself, with what
proceeds from itself, and is itself.

Thus art finds its highest confirmation in science.

Nor does art refuse a philosophical treatment because it is dependent on
caprice, and subject to no law. If its highest aim be to reveal to the
human consciousness the highest interest of the mind, it is evident that
the substance or contents of the representations are not given up to the
control of a wild and irregular imagination. It is strictly determined
by the ideas that concern our intelligence and by the laws of their
development, whatever may be the inexhaustible variety of forms in which
they are produced. Nor are these forms arbitrary, for every form is not
fitted to express every idea. The form is determined by the substance
which it has to suit.

A further consideration of the true nature of beauty, and therefore of
the vocation of the artist, will aid us still more in our endeavor to