E. von Hartmann is in close relation with Schasler. His Aesthetic (1890) also makes great use of the Ugly. Since he insists upon appearance as a necessary characteristic of the beautiful, he considers himself justified in calling his theory concrete idealism. Hartmann considers himself in opposition to the formalism of Herbart, inasmuch as he insists upon the idea as an indispensable and determining element of beauty. Beauty, he says, is truth, but it is not historical truth, nor scientific nor reflective truth: it is metaphysical and ideal. "Beauty is the prophet of idealistic truth in an age without faith, hating Metaphysic, and acknowledging only realistic truth." Aesthetic truth is without method and without control: it leaps at once from the subjective appearance to the essence of the ideal. But in compensation for this, it possesses the fascination of conviction, which immediate intuition alone possesses. The higher Philosophy rises, the less need has she of passing through the world of the senses and of science: she approaches ever more nearly to art. Thus Philosophy starts on the voyage to the ideal, like Baedeker's traveller, "without too much baggage." In the Beautiful is immanent logicity, the microcosmic idea, the unconscious. By means of the unconscious, the process of intellectual intuition takes place in it. The Beautiful is a mystery, because its root is in the Unconscious. No philosopher has ever made so great a use of the Ugly as Hartmann. He divides Beauty into grades, of which the one below is ugly as compared with that above it. He begins with the mathematical, superior to the sensibly agreeable, which is unconscious. Thence to formal beauty of the second order, the dynamically agreeable, to formal beauty of the third order, the passive teleological; to this degree belong utensils, and language, which in Hartmann's view is a dead thing, inspired with seeming life, only at the moment of use. Such things did the philosopher of the Unconscious dare to print in the country of a Humboldt during the lifetime of a Steinthal! He proceeds in his list of things beautiful, with formal beauty of the fourth degree, which is the active or living teleological, with the fifth, which is that of species. Finally he reaches concrete beauty, or the individual microcosm, the highest of all, because the individual idea is superior to the specific, and is beauty, no longer formal, but of content.