Of the three arts which appeal to the voluntary sense of sight, and which present simultaneous impressions, Painting, on the same principle of arrangement, holds the first rank, and Architecture the last; Sculpture being placed between them. Painting alone employs all the methods of visual expression, combining the effects of colour with those of form. Whether in public or private life, its sphere is wider than that of the other two. More technical skill is required in it than in music, and it is harder to obtain; but the difficulty is less than in Sculpture or in Architecture. These latter idealize less, and imitate more. Of the two, Architecture is the less esthetic. It is far more dependent on technical processes; and indeed most of its productions are rather works of industry than works of art. It seldom rises above material beauty: moral beauty it can only represent by artifices, of which the meaning is often ambiguous. But the impressions conveyed by it are so powerful and so permanent, that it will always retain its place among the fine arts, especially in the case of great public buildings, which stand out as the most imposing record of each successive phase of social development. Never has the power of Architecture been displayed to greater effect than in our magnificent cathedrals, in which the spirit of the Middle Ages has been idealized and preserved for posterity. They exhibit in a most striking manner the property which Architecture possesses of bringing all the arts together into a common centre. [The conditions favourable to Art have never yet been combined] These brief remarks will illustrate the method adopted by the new philosophy in investigating a systematic theory of Art under all its statical aspects. We have now to speak of its action upon social life, whether in the final state of Humanity, or in the transitional movement through which that state is to be reached. The Positive theory of history shows us at once, in spite of strong prejudices to the contrary, that up to the present time the progress achieved by Art has been, like that of Science and Industry, only preparatory; the conditions essential to its full development never having yet been combined. [Neither in Polytheism]