Adverting to Mr. Jay Hambidge’s rectangles of beauty I had occasion to cite Croce and his distinction between the æsthetic fact of expression and the practical fact of externalization, to which distinction, I said, Dr. Bosanquet had objected that it ignored the influence upon the artist of his medium. Dr. Bosanquet has courteously sent me a copy of a communication, “Croce’s Æsthetic,” which he has made to the British Academy, and which deals not only with this point, but with his general objections to the Crocean philosophy of art. It is not all objection, far from it; much of it is highly laudatory, and all of it is manifestly written in a spirit of candour and simple desire to arrive at the truth. But I have neither the space nor the competence to review the whole pamphlet, and I will confine myself to the particular point with which I began. While suggesting, however, some criticisms of Dr. Bosanquet’s contentions, I admit the suspicion that I may resemble one of those disputants who, as Renan once said, at the bottom of their minds are a little of the opinion of the other side. That, indeed, was why I said that many of us would be glad to hear further on the point from Croce himself. But with Dr. Bosanquet’s pamphlet before me I cannot afford to “wait and see.” I must say, with all diffidence, what I can. Dr. Bosanquet describes the Crocean view quite fairly. “The ‘work of art,’ then, picture, statue, musical performance, printed or spoken poem, is called so only by a metaphor. It belongs to the practical (economic) and not to the æsthetic phase of the spirit, and consists merely of expedients adopted by the artist as a practical man, to ensure preservation and a permanent possibility of reproduction for his imaginative intuition. The art and beauty lie primarily in his imagination, and secondarily in the imagination of those to whom his own may communicate its experience. The picture and the music are by themselves neither art nor beauty nor intuition-expression.”