[52] See particularly, Ruysdael's "Rocky Landscape," "Landscape with a Farm" (Wallace collection); Hobbema's "Outskirts of a Wood" and many others in the Wallace collection; and Constable's "Flatford Mill" and "The Haywain" (National Gallery). [53] Hermitage Gallery, St. Petersburg. 6. The Meaning of Beauty of Form and of Beauty of Content in Art. So far, then, I have arrived at this notion of beauty in Ruler-Art, namely: that it may be regarded almost universally as that order, simplicity and transfiguration which the artist mind imparts to the content of his production. This notion seems to allow of almost universal application, because, as I showed in the first part of this lecture, it involves one of the primary instincts of man--the overcoming of chaos and anarchy by adjustment, simplification and transfiguration. It is only in democratic ages, or ages of decline, when instincts become disintegrated, that beauty in Art is synonymous with a lack of simplicity, of order and of transfiguration. I have shown, however, that the second kind of beauty, or democratic beauty, is of an inferior kind to that of the first beauty, or Ruler beauty, because, while the former takes its root in the will to live, the latter arises surely and truly out of the will to power.[54] Either beauty, however, constitutes ugliness in its opponent's opinion. But there is another aspect of Beauty in Art which has to be considered, and that is the intrinsic beauty of the content of an artistic production. You may say that, _ex hypothesi_, I have denied that there could be any such beauty. Not at all! Since the ruler-artist transfigures by enhancement, by embellishment and by ennoblement, his mind can be stimulated perfectly well by an object or a human being which to the layman is vertiginously beautiful, and which to himself is exceedingly pleasing. In fact, if his mind is a mind which, like that of most master-artists, adores that which is difficult, it will go in search of the greatest natural beauty it can find, in order, by a stupendous effort in transfiguration, to outstrip even that; for the embellishment of the downright ugly and the downright revolting presents a task too easy to the powerful artist--a fact which explains a good deal of the ugly contents of many a modern picture. What, then, constitutes the beauty of the content in an artistic production, as distinct from the beauty of the treatment? In other words, what is beauty in a subject?