Like Descartes in France, Locke in England (1690) is an intellectualist, and recognizes no form of spiritual elaboration save reflexion on the senses. None the less he takes over from contemporary literature the distinction between wit and judgement; according to him the former combines ideas with pleasing variety, discovering their similarities and relations and thus grouping them into beautiful pictures which divert and strike the imagination: the latter (judgement or intellect) seeks dissimilarities, guided by the criterion of truth. "The mind, without looking any further, rests satisfied with the agreeableness of the picture, and the gaiety of the fancy; and it is a kind of an affront to go about to examine it by the severe rules of truth and good reason; whereby it appears that it consists in something that is not perfectly conformable to them."[7] England produced philosophers who developed an abstract and transcendent Æsthetic, but one more tinged with sensationalism than that of the French Cartesians. Shaftesbury (1709) raises taste to a sense or instinct for the beautiful; a sense of order and proportion identical with moral sense and, with its preconceptions or presentations, anticipating the recognition of reason. Bodies, spirits, God are the three degrees of beauty.[8] Lineal descendant of Shaftesbury was Francis Hutcheson (1723), who succeeded in popularizing the idea of an inward sense of beauty as something intermediate between sense and reason, and adapted to distinguish unity in variety, concord in the manifold, the true, the beautiful and the good in their substantial identity. Hutcheson maintains that from this sense springs the pleasure we take in art, in imitation and in the likeness between copy and original: the last a relative, as distinct from an absolute, beauty.[9] This view on the whole predominated in England during the eighteenth century and was adopted by Adam Smith as well as by Reid, head of the Scottish school. [Sidenote: _Leibniz. Petites perceptions and confused knowledge._] Much more thoroughly and with much greater philosophical vigour Leibniz opened the door to that crowd of psychic facts from which Cartesianism recoiled in horror. In his conception of the real, governed by the law of continuity (_natura non facit saltus_), presenting an uninterrupted scale of existence from the lowest beings to God, imagination, taste, wit and the like found ample room for shelter. The facts now called æsthetic were identified by Leibniz with Descartes' _confused_ cognition, which might be _clear_ without being _distinct_: scholastic terms borrowed, it would appear, from Duns Scotus, whose works were reprinted and widely read in the seventeenth century.[10]