I here add as an appendix, at the request of the author, a translation of his lecture which he delivered before the Third International Congress of Philosophy, at Heidelberg, on 2nd September 1908. The reader will find that it throws a vivid light upon Benedetto Croce's general theory of Aesthetic. PURE INTUITION AND THE LYRICAL CHARACTER OF ART. _A Lecture delivered at Heidelberg at the second general session of the Third International Congress of Philosophy._ There exists an _empirical_ Aesthetic, which although it admits the existence of facts, called aesthetic or artistic, yet holds that they are irreducible to a single principle, to a rigorous philosophical concept. It wishes to limit itself to collecting as many of those facts as possible, and in the greatest possible variety, thence, at the most, proceeding to group them together in classes and types. The logical ideal of this school, as declared on many occasions, is zoology or botany. This Aesthetic, when asked what art is, replies by indicating successively single facts, and by saying: "Art is this, and this, and this too is art," and so on, indefinitely. Zoology and botany renew the representatives of fauna and of flora in the same way. They calculate that the species renewed amount to some thousand, but believe that they might easily be increased to twenty or a hundred thousand, or even to a million, or to infinity. There is another Aesthetic, which has been called hedonistic, utilitarian, moralistic, and so on, according to its various manifestations. Its complex denomination should, however, be _practicism_, because that is precisely what constitutes its essential character. This Aesthetic differs from the preceding, in the belief that aesthetic or artistic facts are not a merely empirical or nominalistic grouping together, but that all of them possess a common foundation. Its foundation is placed in the practical form of human activity. Those facts are therefore considered, either generically, as manifestations of pleasure and pain, and therefore rather as economic facts; or, more particularly, as a special class of those manifestations; or again, as instruments and products of the ethical spirit, which subdues and turns to its own ends individual hedonistic and economic tendencies.