Let us rather show how the content of history comes to be distinguished from that of art. The distinction is secondary. Its origin will be found in what has already been observed as to the ideal character of the intuition or first perception, in which all is real and therefore nothing is real. The mind forms the concepts of external and internal at a later stage, as it does those of what has happened and of what is desired, of object and subject, and the like. Thus it distinguishes historical from non-historical intuition, the _real_ from the _unreal_, real fancy from pure fancy. Even internal facts, what is desired and imagined, castles in the air, and countries of Cockagne, have their reality. The soul, too, has its history. His illusions form part of the biography of every individual. But the history of an individual soul is history, because in it is always active the distinction between the real and the unreal, even when the real is the illusions themselves. But these distinctive concepts do not appear in history as do scientific concepts, but rather like those that we have seen dissolved and melted in the aesthetic intuitions, although they stand out in history in an altogether new relief. History does not construct the concepts of the real and unreal, but makes use of them. History, in fact, is not the theory of history. Mere conceptual analysis is of no use in realizing whether an event in our lives were real or imaginary. It is necessary to reproduce the intuitions in the mind in the most complete form, as they were at the moment of production, in order to recognize the content. Historicity is distinguished in the concrete from pure imagination only as one intuition is distinguished from another: in the memory. [Sidenote] _Historical criticism._ [Sidenote] _Historical scepticism._