But when we enter the æsthetic sphere we are no longer artists. That, indeed, is inevitable if we regard the arts as the sum of all the active functions of the organism. Rickert, with his methodical vision of the world,—for he insists that we must have some sort of system,—has presented what he regards as a reasonable scheme in a tabular form at the end of the first volume of his “System.”[133] He divides Reality into two great divisions: the monistic and asocial Contemplative and the pluralistic and social Active. To the first belong the spheres of Logic, Æsthetics, and Mysticism, with their values, truth, beauty, impersonal holiness; to the second, Ethics, Erotics, the Philosophy of Religion, with their values, morality, happiness, personal holiness. This view of the matter is the more significant as Rickert stands aside from the tradition represented by Nietzsche and returns to the Kantian current, enriched, indeed, and perhaps not quite consistently, by Goethe. It seems probable that all Rickert’s active attitudes towards reality may fairly be called Art, and all the contemplative attitudes, Æsthetics. There is in fact nothing novel in the distinction which underlies this classification, and it has been recognised ever since the days of Baumgarten, the commonly accepted founder of modern æsthetics, not to go further back.[134] Art is the active practical exercise of a single discipline: æsthetics is the philosophic appreciation of any or all the arts. Art is concerned with the more or less unconscious creation of beauty: æsthetics is concerned with its discovery and contemplation. Æsthetics is the metaphysical side of all productive living. IV