We have now reached conclusions which were approached from two distinct points of view. Starting from certain axioms or self-evident propositions, and looking at art from the outside, I suggested that it must provide us with an energetic experience which we value for its own sake without thought of consequences or alien interests, an experience which has a fineness or an illuming quality of its own. And examining the same question from the inside--from the side of the mental processes implied in the act of creation--I have tried to adapt the conclusions of Coleridge to a view which should not pre-suppose his metaphysic, and have asked what is implied in this fineness or illuming quality in a work of art, this which is called beautiful. And when we learnt that all creative art comes from the imagination of the artist projecting itself upon the material of life, I concluded that the two things essential to the creative imagination were knowledge and sincerity--knowledge of life itself, so that the artist can use an intelligible language and speak in terms of things real to everyone--and sincerity, meaning conformity with that which is essential or central in the artist himself. Art is thus a representation of actual life in terms of the artist. It must be real, and it must be ideal. It is the act of genius to be able to give us in one and the same creation a representation of nature and an expression of the artist's personality. This is the new thing which genius constantly adds to the sum-total of human experience--it is the old stuff of life quickened and illuminated by the new incarnation. And thus the stuff of life itself is increased, and succeeding artists start with a wider range of material. We shall not find any actual artist completely satisfying the demand. For the difficulties of form are endless, and sounds, colours, words are obstinate materials when they are to be made the vehicle of ideas; and even the artist in the full tide of the creative impulse must always find that he has expressed something less than his intention and has strayed into the pathless wastes of the inessential. But it is the business of the critic to give him credit for all that is attempted in the sincere spirit of the imagination, and at the same time, in sympathy with the actualities of nature; for on the union of these two depends the truth which is the beauty of art.