Thus history shows that the esthetic development of Humanity has been the result of spontaneous tendencies rather than of systematic guidance. The mental conditions most favourable to it have never been fulfilled simultaneously with its social conditions. At the present time both are alike wanting. Yet there is no evidence that our esthetic faculties are on the decline. Not only has the growth of art proceeded in spite of every obstacle, but it has become more thoroughly incorporated into the life of ordinary men. In ancient times it was cultivated only by a small class. So little was it recognized as a component part of social organization, that it did not even enter into men’s imaginary visions of a future existence. But in the Middle Ages the simplest minds were encouraged to cultivate the sense of beauty as one of the purest delights of human life; and it was held out as the principal occupation of the celestial state. From that time all classes of European society have taken an increasing interest in these elevating pleasures, beginning with poetry, and thence passing to the special arts, especially music, the most social of all. The influence of artists, even when they had no real claim to the title, has been on the increase; until at last the anarchy of the present time has introduced them to political power, for which they are utterly unqualified. [Under Positivism the conditions will all be favourable. There will be fixed principles, and a nobler moral culture] All this would seem to show that the greatest epoch of Art has yet to come. In this respect, as in every other, the Past has but supplied the necessary materials for future reconstruction. What we have seen as yet is but a spontaneous and immature prelude; but in the manhood of our moral and mental powers, the culture of Art will proceed on principles as systematic as the culture of Science and of Industry, both of which at present are similarly devoid of organization. The regeneration of society will be incomplete until Art has been fully incorporated into the modern order. And to this result all our antecedents have been tending. To renew the esthetic movement so admirably begun in the Middle Ages, but interrupted by classical influences, will form a part of the great work which Positivism has undertaken, the completion and re-establishment of the Mediaeval structure upon a firmer intellectual basis. And when Art is once restored to its proper place, its future progress will be unchecked, because, as I shall now proceed to show, all the influences of the final order, spontaneous or systematic, will be in every respect favourable to it. If this can be made clear, the poetic capabilities of Positive Philosophy will require no further proof.