A glance over the path traversed will show that we have completed the entire programme of our treatise. We have studied the nature of intuitive or expressive knowledge, which is the aesthetic or artistic fact (I. and II.), and we have described the other form of knowledge, namely, the intellectual, with the secondary complications of its forms (III.). Having done this, it became possible to criticize all erroneous theories of art, which arise from the confusion between the various forms, and from the undue transference of the characteristics of one form to those of another (IV.), and in so doing to indicate the inverse errors which are found in the theory of intellectual knowledge and of historiography (V.). Passing on to examine the relations between the aesthetic activity and the other spiritual activities, no longer theoretic but practical, we have indicated the true character of the practical activity and the place which it occupies in respect to the theoretic activity, which it follows: hence the critique of the invasion of aesthetic theory by practical concepts (VI.). We have also distinguished the two forms of the practical activity, as economic and ethic (VII.), adding to this the statement that there are no other forms of the spirit beyond the four which we have analyzed; hence (VIII.) the critique of every metaphysical Aesthetic. And, seeing that there exist no other spiritual forms of equal degree, therefore there are no original subdivisions of the four established, and in particular of Aesthetic. From this arises the impossibility of classes of expressions and the critique of Rhetoric, that is, of the partition of expressions into simple and ornate, and of their subclasses (IX.). But, by the law of the unity of the spirit, the aesthetic fact is also a practical fact, and as such, occasions pleasure and pain. This led us to study the feelings of value in general, and those of aesthetic value, or of the beautiful, in particular (X.), to criticize aesthetic hedonism in all its various manifestations and complications (XI.), and to expel from the system of Aesthetic the long series of pseudo-aesthetic concepts, which had been introduced into it (XII.). Proceeding from aesthetic production to the facts of reproduction, we began by investigating the mode of fixing externally the aesthetic expression, with the view of reproduction. This is the so-called physically beautiful, whether it be natural or artificial (XIII.). We then derived from this distinction the critique of the errors which arise from confounding the physical with the aesthetic side of things (XIV.). We indicated the meaning of artistic technique, that which is the technique serving for reproduction, thus criticizing the divisions, limits, and classifications of the individual arts, and establishing the connections between art, economy, and morality (XV.). Because the existence of the physical objects does not suffice to stimulate to the full aesthetic