Just as, in music, discords become beautiful by being brought into fitting relations with other parts of an ordered whole, so is it with objects which are usually considered ugly, but which are capable of aesthetic beauty when treated in pictures by masters of their craft. To set them in new and fitting relations of light and shade, of colour and composition, is to transform them. Schopenhauer lays great stress on the transforming power of art. He instances many typical paintings of the Dutch school, simple interiors, homely scenes, fruit, vegetables, the commonest tools and utensils, even dead flesh--all are taken up into material for pictures, and, in their special setting, compel our admiration. We have in these facts concerning pictorial art, a strong corroboration of the inference from the use of discords in music--the relativity of ugliness, and the possibility of its progressive transformation. But there is a further point to be emphasised, one which music, by reason of its abstractness, could not well enforce, and one which is of profound significance for the nature-mystic. Pictorial art is concerned with the representation of external objects. How explain its transforming power? Schopenhauer has an excellent answer to the question. He says that the artist is endowed with an exceptional measure of intuitive insight. He enjoys a genuine vision of the Idea immanent in the object he reproduces in his particular medium--he fixes attention upon this Idea, isolates it, and reveals much that would otherwise escape notice. The result is that his skill enables others to slip into his mood and share his insight. It is on some such lines as those tentatively traced in the last few paragraphs that the most hopeful solution of the problem of the ugly must be sought. The heart of the matter is that there is no object in external nature which is absolutely ugly--no object which cannot, even as things are, be transformed to some degree by being set in fitting relation to others--no object which is not capable of progress in its capacity for sharing and manifesting the form and reason towards which the universe is striving. Should there be thinkers who, like Kingsley, cannot quite rid themselves of the feeling that ugliness is an absolute reality--a positive mode of existence over against beauty--they can only take refuge in the wider problem of evil. But care must be exercised, as before observed, to distinguish between moral evil and physical ugliness. To what extent the one may be reflected in the other is a question on which it would not be safe to dogmatise. The main theory, however, stands out clearly, and involves a belief that the material phenomena of the universe, as a grand whole, enjoy a wholesome freedom from positive ugliness. Tennyson's "Ancient Sage" expresses the nature-mystic's hopes concerning the fundamental beauty of the world he loves.