Beauty is defined in the same way by the followers of Kant, among whom was Schiller (1759-1805). According to Schiller, who wrote much on æsthetics, the aim of art is, as with Kant, beauty, the source of which is pleasure without practical advantage. So that art may be called a game, not in the sense of an unimportant occupation, but in the sense of a manifestation of the beauties of life itself without other aim than that of beauty.[23] Besides Schiller, the most remarkable of Kant’s followers in the sphere of æsthetics was Wilhelm Humboldt, who, though he added nothing to the definition of beauty, explained various forms of it,—the drama, music, the comic, etc.[24] After Kant, besides the second-rate philosophers, the writers on æsthetics were Fichte, Schelling, Hegel, and their followers. Fichte (1762-1814) says that perception of the beautiful proceeds from this: the world—_i.e._ nature—has two sides: it is the sum of our limitations, and it is the sum of our free idealistic activity. In the first aspect the world is limited, in the second aspect it is free. In the first aspect every object is limited, distorted, compressed, confined—and we see deformity; in the second we perceive its inner completeness, vitality, regeneration—and we see beauty. So that the deformity or beauty of an object, according to Fichte, depends on the point of view of the observer. Beauty therefore exists, not in the world, but in the beautiful soul (_schöner Geist_). Art is the manifestation of this beautiful soul, and its aim is the education, not only of the mind—that is the business of the _savant_; not only of the heart—that is the affair of the moral preacher; but of the whole man. And so the characteristic of beauty lies, not in anything external, but in the presence of a beautiful soul in the artist.[25] Following Fichte, and in the same direction, Friedrich Schlegel and Adam Müller also defined beauty. According to Schlegel (1772—1829), beauty in art is understood too incompletely, one-sidedly, and disconnectedly. Beauty exists not only in art, but also in nature and in love; so that the truly beautiful is expressed by the union of art, nature, and love. Therefore, as inseparably one with aesthetic art, Schlegel acknowledges moral and philosophic art.[26] According to Adam Muller (1779-1829), there are two kinds of beauty; the one, general beauty, which attracts people as the sun attracts the planet—this is found chiefly in antique art—and the other, individual beauty, which results from the observer himself becoming a sun attracting beauty,—this is the beauty of modern art. A world in which all contradictions are harmonised is the highest beauty. Every work of art is a reproduction of this universal harmony.[27] The highest art is the art of life.[28]