_The spiritual Theory._--The only theory of beauty remaining to be noticed is the spiritual theory, which makes beauty consist, not in matter as such, nor in any mere arrangement of matter in itself considered, but in the manifestation or expression, under these sensible material forms, of the higher, the _hidden spiritual nature_, or element, appealing thus to our own spiritual nature, which is thereby awakened to sympathy. In the sensible world about us we find two elements diverse and distinct each from the other, the idea and the form, spirit and matter, the invisible and the visible. In objects that are beautiful we find these two elements united in such a way, that the one expresses or manifests the other, the form expresses the idea, the body expresses the spirit, the visible manifests the invisible, and our own spiritual nature recognizing its like, holds communion and sympathy with it as thus expressed. That which constitutes the beautiful, then, is this manifestation, under sensible forms, and so to our senses, of the higher and spiritual principle which is the life and soul of things. _Relation of the Beautiful to the True and the Good._--It differs from the true in that the true is not, like the beautiful, expressed under sensible forms, but is isolated, pure, abstract, not addressed to the senses, but to reason. It differs from the good, in that the good always proposes an end to be accomplished, and involves the idea of obligation, while the beautiful, on the contrary, proposes no end to be accomplished, acknowledges no obligation or necessity, but is purely free and spontaneous. Yet, though differing in these aspects, the good, the true, and the beautiful, are at basis essentially the same, even as old Plato taught, differing rather in their mode of expression, and the relations which they sustain to us, than in essence. _Relation of the Beautiful to the Sublime._--The relation of the beautiful to the _sublime_, according to this theory, is simply this: In the beautiful, the invisible and the visible, the finite and the infinite, are harmoniously blended. In the sublime, the spiritual element predominates, the harmony is disturbed, the sensible is overborne by the infinite, and our spirits are agitated by the presence, in an unwonted degree, of the higher element of our own being. Hence, while the one pleases, the other awes and subdues us. _Application of this Theory._--Such, in brief outline, is the theory. Let us see now whether it is applicable to the different forms of beauty, and whether it furnishes a satisfactory explanation and account of them. Surveying the different forms of being, we find among them different degrees of beauty. Does, then, every thing which is beautiful express or manifest, through the medium, and, as it were, under the veil, of the material form, the presence of the invisible spiritual element? and the more beautiful it is, does it so much the more plainly and directly manifest this element?