It was this feeling which led William Blake to exclaim in his impulsive way, that to generalize is to be an idiot, that direct perception is all, and the slow process of the inductive reason a devil's machination. This method of intuition is to the more sober method of science as the romantic to the classical spirit in literature, permitting to the individual mind a licence of noble vagrancy. But it must be a law for the ordinary intelligence to exercise the two apart, else it will fall into sick fancies of excitement, and by abuse of wild analogies lose the vital art of balance and sane comparison. Only the greatest minds, endowed as it were with some divine genius of extrication, may dare to practise the two together. So Leonardo da Vinci drove inference and intuition abreast without disaster, and gathered from purple distances of thought their wildest and most splendid flowers. To him, as has been well said, philosophy was something giving strange swiftness and double sight, clairvoyant of occult gifts in common or uncommon things. The doom of Phaeton awaits those who now would follow that marvellous course; but the poetic observation of resemblances in things remote, which lent so rich a colour to the science of the Renaissance, may yet be trained in all our minds; and the philosophy which trusts in the slow suffusion of the worlds with intellectual light will bless and encourage its reasonable growth. Such a philosophy brings also a living sympathy with art. For the artist ever sees a perfection of truth beyond his rendering, yet always calling for expression; there is something eternally missed by his highest effort, and he can never know complacency. The philosophy which conceives the gradual growth of form through consciousness towards a perfection infinitely removed, yet in its remoteness drawing up our life as the moon sways the tides--this surely is the artist's wisdom. Idealism is like love, {apora porimos}, holding us as it were in touch with the intangible: it will have us conceive the Absolute without that helpless absorption in thought which changed Amiel's life from a fountain to a vapour: it would keep us near the surf and confluence of things. Its function is not to give any mysterious transcendental knowledge, but to serve culture "by suggesting questions which help to detect the passion, and strangeness and dramatic contrasts of life." And not only to bring suggestions, but repose, by granting to eyes wearied with minute concerns the contrasts of vast times and spaces, the majestic idea of the Whole; to change the focus and variously dispose the perspectives of familiar things.