Truth and beauty, according to Hegel, are one and the same thing; the difference being only that truth is the Idea itself as it exists in itself, and is thinkable. The Idea, manifested externally, becomes to the apprehension not only true but beautiful. The beautiful is the manifestation of the Idea.[32] Following Hegel came his many adherents, Weisse, Arnold Ruge, Rosenkrantz, Theodor Vischer and others. According to Weisse (1801-1867), art is the introduction (_Einbildung_) of the absolute spiritual reality of beauty into external, dead, indifferent matter, the perception of which latter apart from the beauty brought into it presents the negation of all existence in itself (_Negation alles Fürsichseins_). In the idea of truth, Weisse explains, lies a contradiction between the subjective and the objective sides of knowledge, in that an individual _I_ discerns the Universal. This contradiction can be removed by a conception that should unite into one the universal and the individual, which fall asunder in our conceptions of truth. Such a conception would be reconciled (_aufgehoben_) truth. Beauty is such a reconciled truth.[33] According to Ruge (1802-1880), a strict follower of Hegel, beauty is the Idea expressing itself. The spirit, contemplating itself, either finds itself expressed completely, and then that full expression of itself is beauty; or incompletely, and then it feels the need to alter this imperfect expression of itself, and becomes creative art.[34] According to Vischer (1807-1887), beauty is the Idea in the form of a finite phenomenon. The Idea itself is not indivisible, but forms a system of ideas, which may be represented by ascending and descending lines. The higher the idea the more beauty it contains; but even the lowest contains beauty, because it forms an essential link of the system. The highest form of the Idea is personality, and therefore the highest art is that which has for its subject-matter the highest personality.[35] Such were the theories of the German æstheticians in the Hegelian direction, but they did not monopolise æsthetic dissertations. In Germany, side by side and simultaneously with the Hegelian theories, there appeared theories of beauty not only independent of Hegel’s position (that beauty is the manifestation of the Idea), but directly contrary to this view, denying and ridiculing it. Such was the line taken by Herbart and, more particularly, by Schopenhauer.