Thus, if the last of the five doctrines indicated be taken, which may be summed up as the proposition that art is a form of the theoretic spirit, superior to the scientific and philosophic form--and if it be submitted to analysis, it will be seen that in it is included, in the first place, the proposition affirming the existence of a group of facts, which are called aesthetic or artistic. If such facts did not exist, it is evident that no question would arise concerning them, and that no systematization would be attempted. And this is the truth of empirical Aesthetic. But there is also contained in it the proposition: that the facts examined are reducible to a definite principle or category of the spirit. This amounts to saying, that they belong either to the practical spirit, or to the theoretical, or to one of their subforms. And this is the truth of practicist Aesthetic, which is occupied with the enquiry as to whether these ever are practical facts, and affirms that in every case they are a special category of the spirit. Thirdly, there is contained in it the proposition: that they are not practical facts, but facts which should rather be placed near the facts of logic or of thought. This is the truth of intellectualistic Aesthetic. In the fourth place, we find also the proposition; that aesthetic facts are neither practical, nor of that theoretic form which is called logical and intellective. They are something which cannot be identified with the categories of pleasure, nor of the useful, nor with those of ethic, nor with those of logical truth. They are something of which it is necessary to find a further definition. This is the truth of that Aesthetic which is termed agnostic or negative. When these various propositions are severed from their connection; when, that is to say, the first is taken without the second, the second without the third, and so on,--and when each, thus mutilated, is confined in itself and the enquiry which awaits prosecution is arbitrarily arrested, then each one of these gives itself out as the whole of them, that is, as the completion of the enquiry. In this way, each becomes error, and the truths contained in empiricism, in practicism, in intellectualism, in agnostic and in mystical Aesthetic, become, respectively, falsity, and these tendencies of speculation are indicated with names of a definitely depreciative colouring. Empiria becomes empiricism, the heuristic comparison of the aesthetic activity with the practical and logical, becomes a conclusion, and therefore practicism and intellectualism. The criticism which rejects false definitions, and is itself negative, affirms itself as positive and definite, becoming agnosticism; and so on.