Throughout this essay, in our quest for the meaning of Beauty we have been driven to reject the ground of the Natural as the proper standpoint for viewing the Beautiful. Rather, in Nature regarded from the point of view of ultimate Reality, we have found a value only through relation; and it is the intuition of this relation, expressed to conscious mind, that constitutes Beauty. No relation is, however, satisfying but one which is mutual. There is beauty in all expressed relations, even those of mathematics and physics, but because these relations are primarily expressed for the purpose of the science as between thing and thing, and their relation to the perceiving mind is relegated to the background, the sense of beauty is not roused in any great degree. By scenery a far more vivid sense of beauty is kindled, and hand in hand with this goes a keener sense of dissatisfaction and creative longing. By pictures and the like we are brought into touch with the mind of the artist; he has felt a relation and given to it technical expression, and we follow anew his creative intuition. In doing so we get in some degree into relation with his mind as well as with the thing in which he saw beauty; and we derive additional joy from this personal relation, mediate though it be. But still there is dissatisfaction, as well as creative desire. This longing is identical with the longing of one-sided love. We receive and cannot give. Only in perfectly reciprocal love is the longing absent, while yet the creative aspect is most vividly present.