These explications have firmly established that the pure or fundamental forms of knowledge are two: the intuition and the concept--Art, and Science or Philosophy. With these are to be included History, which is, as it were, the product of intuition placed in contact with the concept, that is, of art receiving in itself philosophic distinctions, while remaining concrete and individual. All the other forms (natural sciences and mathematics) are impure, being mingled with extraneous elements of practical origin. The intuition gives the world, the phenomenon; the concept gives the noumenon, the Spirit. IV HISTORICISM AND INTELLECTUALISM IN AESTHETIC These relations between intuitive or aesthetic knowledge and the other fundamental or derivative forms of knowledge having been definitely established, we are now in a position to reveal the errors of a series of theories which have been, or are, presented, as theories of Aesthetic. [Sidenote] _Critique of verisimilitude and of naturalism._ From the confusion between the exigencies of art in general and the particular exigencies of history has arisen the theory (which has lost ground to-day, but used to dominate in the past) of _verisimilitude_ as the object of art. As is generally the case with erroneous propositions, the intention of those who employed and employ the concept of verisimilitude has no doubt often been much more reasonable than the definition given of the word. By verisimilitude used to be meant the artistic _coherence_ of the representation, that is to say, its completeness and effectiveness. If "verisimilar" be translated by "coherent," a most exact meaning will often be found in the discussions, examples, and judgments of the critics. An improbable personage, an improbable ending to a comedy, are really badly-drawn personages, badly-arranged endings, happenings without artistic motive. It has been said with reason that even fairies and sprites must have verisimilitude, that is to say, be really sprites and fairies, coherent artistic intuitions. Sometimes the word "possible" has been used instead of "verisimilar." As we have already remarked in passing, this word possible is synonymous with that which is imaginable or may be known intuitively. Everything which is really, that is to say, coherently, imagined, is possible. But formerly, and especially by the theoreticians, by verisimilar was understood historical credibility, or that historical truth which is not demonstrable, but conjecturable, not true, but verisimilar. It has been sought to impose a like character upon art. Who does not recall the great part played in literary history by the criticism of the verisimilar? For example, the fault found with the _Jerusalem Delivered_, based upon the history of the Crusades, or of the Homeric poems, upon that of the verisimilitude of the costume of the emperors and kings?