Now, the first point to be firmly fixed in the mind is that intuitive knowledge has no need of a master, nor to lean upon any one; she does not need to borrow the eyes of others, for she has most excellent eyes of her own. Doubtless it is possible to find concepts mingled with intuitions. But in many other intuitions there is no trace of such a mixture, which proves that it is not necessary. The impression of a moonlight scene by a painter; the outline of a country drawn by a cartographer; a musical motive, tender or energetic; the words of a sighing lyric, or those with which we ask, command and lament in ordinary life, may well all be intuitive facts without a shadow of intellective relation. But, think what one may of these instances, and admitting further that one may maintain that the greater part of the intuitions of civilized man are impregnated with concepts, there yet remains to be observed something more important and more conclusive. Those concepts which are found mingled and fused with the intuitions, are no longer concepts, in so far as they are really mingled and fused, for they have lost all independence and autonomy. They have been concepts, but they have now become simple elements of intuition. The philosophical maxims placed in the mouth of a personage of tragedy or of comedy, perform there the function, not of concepts, but of characteristics of such personage; in the same way as the red in a painted figure does not there represent the red colour of the physicists, but is a characteristic element of the portrait. The whole it is that determines the quality of the parts. A work of art may be full of philosophical concepts; it may contain them in greater abundance and they may be there even more profound than in a philosophical dissertation, which in its turn may be rich to overflowing with descriptions and intuitions. But, notwithstanding all these concepts it may contain, the result of the work of art is an intuition; and notwithstanding all those intuitions, the result of the philosophical dissertation is a concept. The _Promessi Sposi_ contains copious ethical observations and distinctions, but it does not for that reason lose in its total effect its character of simple story, of intuition. In like manner the anecdotes and satirical effusions which may be found in the works of a philosopher like Schopenhauer, do not remove from those works their character of intellective treatises. The difference between a scientific work and a work of art, that is, between an intellective fact and an intuitive fact lies in the result, in the diverse effect aimed at by their respective authors. This it is that determines and rules over the several parts of each. [Sidenote] _Intuition and perception._