(3.) _Philosophy of Art._—The problem of transcendental philosophy is to harmonize the subjective and the objective. In history, with which practical philosophy closes, the identity of the two is not exhibited, but only approximated in an infinite progress. But now the Ego must attain a position where it can actually look upon this identity, which constitutes its inner essence. If now all conscious activity exhibits design, then a conscious and consciousless activity can only coincide in a product, which, though it exhibits design, was yet produced without design. Such a product is nature; we have here the principle of all _teleology_, in which alone the solution of the given problem can be sought. The peculiarity of nature is this, viz., that though it exhibits itself as nothing but a blind mechanism, it yet displays design, and represents an identity of the conscious subjective, and the consciousless objective activity; in it the Ego beholds its own most peculiar essence, which consists alone in this identity. But in nature the Ego beholds this identity, not as something objective, which has a being only outside of it, but also as that whose principle lies within the Ego itself. This beholding is the art-intuition. As the production of nature is consciousless, though similar to that which is conscious, so the æsthetic production of the artist is a conscious production, similar to that which is consciousless. _Æsthetics_ must therefore be joined to teleology. That contradiction between the conscious and the consciousless, which moves forward untiringly in history, and which is unconsciously reconciled in nature, finds its conscious reconciliation in a work of art. In a work of art, the intelligence attains a perfect intuition of itself. The feeling which accompanies this intuition, is the feeling of an endless satisfaction; all contradictions being resolved, and every riddle explained. The unknown, which unexpectedly harmonizes the objective and the conscious activity, is nothing other than that absolute and unchangeable identity, to which every existence must be referred. In the artist it lays aside the veil, which elsewhere surrounds it, and irresistibly impels him to complete his work. Thus there is no other eternal revelation but art, and this is also the miracle which should convince us of the reality of that supreme, which is never itself objective, but is the cause of all objective. Hence art holds a higher rank than philosophy, for only in art has the intellectual intuition objectivity. There is nothing, therefore, higher to the philosopher than art, because this opens before him, as it were, the holy of holies, where that which is separate in nature and history, and which in life and action, as in thought, must ever diverge, burns, as it were, in one flame, in an eternal and original union. From this we see also both the fact and the reason for it, that philosophy, as philosophy, can never be universally valid.