Such a psychological study of the means by which the end of Beauty is attained is the only method by which we can come to an explanation of the wealth of concrete beauty. The concept of explanation, indeed, is valid only within the realm of causes and effects. The aim of aesthetics being conceded, as above, to be the determination of the Nature of Beauty and the explanation of our feelings about it, it is evident at this point that the Nature of Beauty must be determined by philosophy; but the general definition having been fixed, the meaning of the work of art having been made clear, the only possible explanation of our feelings about it--the aesthetic experience, in other words--must be gained from psychology. This method is not open to the logical objections against the preceding. No longer need we ask what has a right to be included in the aesthetic experience. That has been fixed by the definition of Beauty. But how the beautiful object brings about the aesthetic experience, the boundaries of which are already known, is clearly matter for psychology. The first step must then be to win the philosophical definition of Beauty. It was Kant, says Hegel, who spoke the first rational word concerning Beauty. The study of his successors will reveal, I believe, that the aesthetic of the great system of idealism forms, on the whole, one identical doctrine. It is worth while to dwell somewhat on this point, because the traditional view of the relation of the aesthetic of Kant, Schiller, Schelling, and Hegel is otherwise. Kant's starting-point was the discovery of the normative, "over-individual" nature of Beauty, which we have just found to be the secret of the contradictions of empirical aesthetics. Yet he came to it at the bidding of quite other motives.