This concept of the æsthetic personality, which we find clearly defined in Croce's most recent essays, was the guiding principle of all his literary criticism, since the time when he started his series of studies on modern Italian literature. He had inherited it from De Sanctis, whose work, in so far as it is æsthetic and not moral or political history, can be regarded as a collection of powerful characterizations of æsthetic personalities. But, in his first attempts in literary criticism, Croce employed it tentatively in what then appeared to him only as the preparatory stage of his work; beyond the individual characterizations, and once these had been sufficiently determined, he still thought of the possibility of a general literary history, in which these should find their place as parts of a more complex organism of critical thought. But when he had completed his task, in a series of remarkable essays, some of which will have fixed for a long time to come the physiognomy of the most notable Italian writers of the last half-century, he perceived that he had practically exhausted the æsthetic problems which the work of those writers presented to his mind: a general literary history of the period could have been nothing but a new arrangement of the same ideas and valuations contained in the individual essays. Thus the monographic method .which he had originally adopted for convenience' sake, justified itself in the practice of his work, or rather proved to be the only legitimate method of literary and general artistic history. All the vague abstractions with which modern nationalistic or sociological histories of art and poetry are crammed, reveal themselves ultimately as either generalizations of individual characteristics, or concepts borrowed from the economic and moral history of a nation or people, more or less irrelevant to the purposes of æsthetic criticism. The true unity in the consideration of the history of art cannot be reached by the establishment of purely external and material relations between work and work, between artist and artist, but only by making one's critical estimate of the individual work or artist sufficiently vast and sufficiently deep. "Contemporaries, related or opposed to the individual poet, his more or less partial and remote forerunners, the moral and intellectual life of his time, and that of the times which preceded and prepared it, these and other things are all present (now expressed, now unexpressed) in our spirit, when we reconstruct the dialectic of a given artistic personality. Undoubtedly, in considering a given personality we cannot, in the same act, consider another or many others or all others, each for itself; and psychologists call this lack of ubiquity the 'narrowness of the threshold of consciousness,' while they ought to call it the highest energy of the human spirit, which sinks itself in the object that in a given moment interests it,