Carefully keeping in mind that the end of such divine dramas is not _here_, we see that, in accordance with the above views of Aristotle, the _true_ is not that which _really_ occurs, but that which our feelings and intellect tell us ought to occur. The actually occurring, the _Real_, has always been confounded with the abstractly _true_, but they are very different things. Virtue, morality, such as revealed by Christianity, and confirmed by reason, are certainly _true_; but in relation to that which is, to the _real_, the _actual_, what man has ever yet succeeded in realizing the pure, high model set forth in the Gospel? In accordance with the theory that the _Actual_ is the _true_, the nature of a saintly hero, a self-abnegating martyr, would not be a _true_ nature; while the fact is, it alone is true to the purposes of its creation. Sophocles, Raphael, Michael Angelo, Fra Angelico, etc., etc., did not mean by truth in the arts, the pure and simple expression of that which _really_ is, but the expression of that which is rarely found _in_ the actual, but is suggested by it. Aquinas makes an acute distinction between the intellect _passive_, which merely receives impressions from without, and the intellect _active_, which reasons upon and draws inferences from them. The senses can only give or know the _individual_; the active intellect alone conceives the _universal_. Our eyes perceive a triangle; but as we have this perception in common with the brutes, it cannot raise us above their level; and to take our rank as intelligences, as men, we must rise from the mere perception of the individual triangle to the general idea of triangularity. Thus it is the power of _generalizing_ which marks us as men; and the senses have in reality nothing to do with the internal operation; they but receive the impressions, and convey them to the active intellect. Thus to the impressions given by the senses of _finite_ things to the passive mind, the active intellect adds the idea of _infinity_. The eager soul, always longing for the infinite, the absolute, then seeks to invest all with that perfection which it divines in the Maker of all; the possibility of which conception of perfection is added or attached by the Creator to the Real, as a supersensuous gift to those made in His own image. Such conceptions live ever firm and fair in the charmed world of the artist, for his world is the Realm of pure Ideas. Much may be quoted in proof of this view. Cicero says: 'When Phidias formed his Jupiter, he had no living model before his eyes, but having conceived an idea of perfect beauty in his soul, he labored only to imitate it, to produce it in the marble without change.' Raphael says: 'Having found no model sufficiently beautiful for my Galatea, I worked from a certain Idea which I found in my own mind.'