The simple apprehension is concerned with what is termed ontological truth, whereas reasoning and judging result in logical truth. Now, just as esthetic enjoyment abstracts from possession or good, so does it abstract from the affirmations belonging to the logical truth of judgment and of rational inference. There is esthetic enjoyment of fiction as well as of fact. Aristotle long ago saw that although the substance of art must be the persons, actions and feelings of man, the pleasure found in the work of art does not arise from its correspondence with reality. The correspondence with reality gives the satisfaction of logical truth, of scientific truth, of historical fact. The truth which is the object of esthetic pleasure in art is the truth of consistency, of realization of ideal, the truth of reasonable congruity, of plot in a wide sense of the term. This vision, this dream of the artist, scholastic philosophers call _causa exemplaris_ or ideal. If we are right in our understanding of Croce, his intuition is nothing else but the simple apprehension of the ideal. Esthetic enjoyment comes also, as is clear, from the simple apprehension of beauty in natural realities where there is no fiction of art. To localize the esthetic enjoyment in this way does not determine the constituent elements of beauty, but clear definitions help to exclude many false notions of beauty. The ideal of the artist is embodied in his imagination before it is expressed in its proper medium. The art of man always must have a medium which can be perceived by the senses. That is why a vigorous imagination, which stores up and dispenses to its owner quickly and abundantly of its riches, is so useful to the artist. Through his imagination the artist is original and personal. The pure thought of science is abstract and alike in all minds; the artistic vision formed from individual experience will be different in every one. Therefore no two artists expressing themselves in the concrete can be alike as no two scenes of nature are alike in beauty.