But these three steps towards the incorporation of Art into the final order, though not far distant, cannot be taken immediately. They presuppose a degree of intellectual preparation which is not yet reached either by the public or by its esthetic teachers. The present generation under which, in France, the great revolution is now peacefully entering upon its second phase, may diffuse Positivism largely, not merely amongst qualified thinkers, but among the people of Paris, who are entrusted with the destinies of Western Europe, and among women of nobler nature. The next generation, growing up in the midst of this movement, may, before the expiration of a century from the date of the Convention, complete spontaneously the moral and mental inauguration of the new system, by exhibiting the new esthetic features which Humanity in her regenerate condition will assume. Let us now sum up the conclusions of this chapter. We have found Positive Philosophy peculiarly favourable to the continuous development of all the fine arts. A doctrine which encourages Humanity to strive for perfection of every kind, cannot but foster and assimilate that form of mental activity by which our sense of perfection is so highly stimulated. It controls the Ideal, indeed, by systematic study of the Real; but only in order to furnish it with an objective basis, and so to secure its coherence and its moral value. Placed on this footing, our esthetic faculties are better adapted than the scientific, both to the nature and range of our understanding, and also to that which is the object of all intellectual effort, the organization of human unity. For they are more immediately connected with Feeling, on which the unity of our nature must rest. Next to direct culture of the heart, it is in ideal Art that we shall find the best assistance in our efforts to become more loving and more noble. Logically, Art should have a salutary influence upon our intellectual faculties, because it familiarizes us from childhood with the features by which all constructive efforts of man should be characterized. Science has for a long time preferred the analytic method, whereas Art, even in these times of anarchy, always aims at Synthesis, which is the final goal of all intellectual activity. Even when Art, contrary to its nature, undertakes to destroy, it cannot do its work, whatever it be, without constructing. Thus, by implanting a taste and faculty for ideal construction, Art enables us to build with greater effect than ever upon the more stubborn soil of reality.