Now in the case of the productions of artistic genius we know that we must enter into the movement of the creative mind of the artist, before we can realize the principle which gives rise to his work. We must learn to partake of the feeling, to find expression for which is the motive of his creative activity. May we not apply the same principle to the Greater Creative Mind with which we are seeking to deal? There is something in the work of the artist which is akin to that of original creation. His work, literary, musical, or graphic is original creation on a miniature scale, and in this it differs from that of the engineer, which is constructive, or that of the scientist which is analytical; for the artist in a sense creates something out of nothing, and therefore starts from the stand-point of simple feeling, and not from that of a pre-existing necessity. This, by the hypothesis of the case, is true also of the Parent Mind, for at the stage where the initial movement of creation takes place, there are no existing conditions to compel action in one direction more than another. Consequently the direction taken by the creative impulse is not dictated by outward circumstances, and the primary movement must therefore be entirely due to the action of the Original Mind upon itself; it is the reaching out of this Mind for realization of all that it feels itself to be. The creative process thus in the first instance is purely a matter of feeling--exactly what we speak of as "motif" in a work of art. Now it is this original feeling that we need to enter into, because it is the fons et origo of the whole chain of causation which subsequently follows. What then can this original feeling of the Spirit be? Since the Spirit is Life-in-itself, its feeling can only be for the fuller expression of Life--any other sort of feeling would be self-destructive and is therefore inconceivable. Then the full expression of Life implies Happiness, and Happiness implies Harmony, and Harmony implies Order, and Order implies Proportion, and Proportion implies Beauty; so that in recognizing the inherent tendency of the Spirit towards the production of Life, we can recognise a similar inherent tendency to the production of these other qualities also; and since the desire to bestow the greater fulness of joyous life can only be described as Love, we can sum up the whole of the feeling which is the original moving impulse in the Spirit as Love and Beauty--the Spirit finding expression through forms of beauty in centres of life, in harmonious reciprocal relation to itself. This is a generalized statement of the broad principle by which Spirit expands from the innermost to the outermost, in accordance with a Law of tendency inherent in itself.