This half-moral, half-metaphysical exposition is accompanied with the usual protestations, that the matter in hand is to be studied methodically, analytically, as the naturalist would study it, that he will try to reach "a law, not a hymn." As if these protestations could abolish the true nature of his thought! Taine actually went so far as to attempt dialectic solutions of works of art! "In the primitive period of Italian art, we find the soul without the body: Giotto. At the Renaissance, with Verrocchio and his school, we find the body without the soul. With Raphael, in the sixteenth century, we find expression and anatomy in harmony: body and soul." Thesis, antithesis, synthesis! With G.T. Fechner we find the like protestations and the like procedure. He will study Aesthetic inductively, from beneath. He seeks clarity, not loftiness. Proceeding thus inductively, he discovers a long series of laws or principles of Aesthetic, such as unity in variety, association and contrast, change and persistence, the golden mean, etc. He exhibits this chaos with delight at showing himself so much of a physiologist, and so inconclusive. Then he proceeds to describe his experiments in Aesthetics. These consist of attempts to decide, for instance, by methods of choice, which of certain rectangles of cardboard is the most agreeable, and which the most disagreeable, to a large number of people arbitrarily chosen. Naturally, these results do not agree with others obtained on other occasions, but Fechner knows that errors correct themselves, and triumphantly publishes long lists of these valuable experiments. He also communicates to us the shapes and measurements of a large number of pictures in museums, as compared with their respective subjects! Such are the experiments of physiological aestheticians. But Fechner, when he comes to define what beauty and what art really are, is, like everyone else, obliged to fall back upon introspection. But his definition is trivial, and his comparison of his three degrees of beauty to a family is simply grotesque in its _naïveté_. He terms this theory the eudemonistic theory, and we are left wondering why, when he had this theory all cut and dried in his mind, he should all the same give himself the immense trouble of compiling his tables and of enumerating his laws and principles, which do not agree with his theory. Perhaps it was all a pastime for him, like playing at patience, or collecting postage-stamps? Another example of superstition in respect to the natural sciences is afforded by Ernest Grosse. Grosse abounds in contempt for what he calls speculative Aesthetic. Yet he desires a Science of Art (Kunstwissenschaft), which shall formulate its laws from those historical facts which have hitherto been collected.