How difficult it generally is for man to express his internal conceptions, to bring out the indwelling idea and to realize its perfect external manifestation, is shown, for example, among other instances, by the fine arts, or the art of the beautiful. For this reason the theory of the latter, the so-called æsthetics (which, however, might far more correctly be termed symbolism), forms the natural pendant and accompaniment to logic, if the latter, instead of being limited, as is usual, to the mere art of distinguishing the different kinds of notions, is understood in a far higher sense, and referred to eternal, and, consequently, divine truth, and to its intrinsic and equally divine standard. For when the question no longer involves a purely material or simply subjective verity, but that which is more exalted and heavenly, then beauty (that, namely, about which art is conversant, and which, far surpassing all that is merely human, pretends and really ought to be divine and supernatural) forms the other and symbolical aspect of one and the same eternal truth. And indeed it is neither separable from it nor opposed to it, so long as art maintains its high standing and employs the sensual charm which it requires for the lively expression of vitality, and its outward manifestation, only as a symbol and for the sake of that higher significance which she herself lends to it, and does not seek nor admire it for its own sake, nor sees therein the fulfillment of its own true end and aim. But by far the greater number of the productions of art are only repetitions or copies of some previous realization. And I use this term, not in its usual depreciatory sense, but rather in one that is applicable to what are truly artistic productions but still only successful formations at second-hand. Extremely rare, indeed, are the original expressions or impressions of an indwelling, unborrowed idea And even among these very many are nothing more than the first faint outline and commencement, which only at a subsequent epoch of art, and after long and repeated essays, attains to complete perfection and a really successful and veritable outward exhibition of the indwelling idea. For we must ever consider as an idea that inward object which art in its external manifestations strives to realize, and which in its creations ought to stand out, as it were, bodily before us.