expresses for his time in antithesis to Kant’s and Fichte’s rigorism. Goethe impersonated this ideal in his life and represented it in his works. The Romanticists carried this conception to its extreme both in their practice and in their literary productions. Thus they came to stand for an aristocracy of culture, and in them “ethical geniality” culminated. The Romanticist contrasted himself with the “Philistine” who lives according to rules. The Romanticist would live out his own individuality as valuable in itself. He substituted the endless play of the imagination for Fichte’s moral law, and was frequently very wayward and capricious. This is seen in Schlegel’s _Lucinde_. Schleiermacher the preacher tried to preserve the purity of Schiller’s doctrine. In his construction of his own philosophy of mind Schelling adopted completely Schiller’s theory of the æsthetic reason in what he called _Transcendental Idealism_. He looked upon the Fichtean antithesis between theoretical and practical reason as the same as that between the unconscious and the conscious activity of the Self. Theoretically, or from the point of view of the understanding, consciousness is determined by the unconscious; practically, or from the point of view of the will, the unconscious is the creation of consciousness. The practical or willing Self re-shapes the products of the nature world. For a thinking being is not merely a reflector or re-presenter of events as they occur in the nature world――as nature produces them. Thinking man is not merely passive. He re-shapes and transforms nature through the freedom of his morality. But neither the series of passively apprehended events, nor the series of events transformed by the active moral will, is ever complete. Neither as a passive product of nature nor as a moral will is man a perfected being. In either condition man perpetually feels the contradiction, since he is neither wholly passive nor wholly active. The antagonism between will and sense is ever present. Man realizes the fullness of his Ego, when he transcends both will and sense, both morality and science, in the conscious-unconscious activity of artistic genius. This is the highest synthesis. In Schelling’s lectures delivered at Jena on the philosophy of art, after he had written his _Transcendental Idealism_, he developed and applied this theory and it determined the subsequent development of æsthetics in the Jena circle. Kant had previously defined genius as intellect that works like nature; Schiller had defined it as playing; Schelling looked upon it as æsthetic reason and the climax of the philosophy of mind. Art, and not logic, is the instrument by which the reason develops. Artistic reason is the goal toward which the reason aims.