The loss of the sense of personality is an integral part of the aesthetic experience; and we have seen how it is a necessary psychological effect of the unity of the object. From another point of view it may be said that the unity of the object is constituted just by the inhibition of all tendency to movement through the balance or centrality of impulses suggested by it. In other words, the balance of impulses makes us feel the object a unity. And this balance of impulses, this inhibition of movement, corresponding to unity, is what we know as aesthetic repose. Thus the conditions of aesthetic repose and of the loss of self-feeling are the same. In fact, it might be said that, within this realm, the two conceptions are identical. The true aesthetic repose is just that perfect rest in the beautiful object which is the essence of the loss of the sense of personality. Subtler and rarer, again, than the raptures of mysticism and of beauty worship is the ecstasy of intellectual production; yet the "clean, clear joy of creation," as Kipling names it, is not less to be grouped with those precious experiences in which the self is sloughed away, and the soul at one with its content. I speak, of course, of intellectual production in full swing, in the momentum of success. The travail of soul over apparently hopeless difficulties or in the working out of indifferent details takes place not only in full self- consciousness, but in self-disgust; there we can take Carlyle to witness. But in the higher stages the fixation of truth and the appreciation of beauty are accompanied by the same extinction of the feeling of individuality. Of testimony we have enough and to spare. I need not fill these pages with confessions and anecdotes of the ecstatical state in which all great deeds of art and science are done. The question is rather to understand and explain it on the basis of the formal scheme to which we have found the religious and the aesthetic attitudes to conform.