Although any detailed treatment of the concrete forms of art is entirely foreign to the intention of this essay, it is desirable that we should devote a little consideration to the way in which these technical expressions arise and to the psychological effects they produce. In doing this we shall refer to the work of various artists, but only for purposes of illustration. The part of the art critic is as unnecessary to our purpose as it is beyond our powers. To omit all reference to concrete matters seemed undesirable, as leaving the theory rather in the air. On the other hand any detailed discussion of the theory as applied to the development of concrete art-forms must necessarily introduce debatable propositions, and must be tentative. It therefore seemed desirable to relegate the discussion of concrete matters to an Appendix, and to state clearly that what was there said was meant rather to suggest ideas than to lay down definite principles. Applications that may be open to question do not invalidate a theory, while they do make for clear understanding of it. The question whether beauty itself is a universal or a particular has already found implicit answer. Since beauty is the expression of a relation that is understood as an essential determination of Reality, the concept of beauty is a pure concept. It is expressive, it is concrete, it is universal. It is clearly expressed to the self as a cognitive product, expressible in words (definition) and symbols (technique). It answers to Croce’s test that though “universal and transcendent in relation to the single representation, it is yet immanent in the single, and therefore in all representations,” and is therefore concrete. It also transcends the single representations, “so that no single representation, and no number of them can be equivalent to the concept” and so is universal. But the foundation of every universal concept exists in an intuition of the particular. The intuition and its expression to the self come first, then follows the extension of the theoretic activity in logic. The concept of beauty must, then, have arisen, and at every fresh realisation must still arise, like all concepts, from an intuition of Reality as existent in a particular; and we must therefore seek its origin in specific individual cases.