Grant Allen is a follower of Spencer, and in his _Physiological Æsthetics_ (1877) he says that beauty has a physical origin. Æsthetic pleasures come from the contemplation of the beautiful, but the conception of beauty is obtained by a physiological process. The origin of art is play; when there is a superfluity of physical strength man gives himself to play; when there is a superfluity of receptive power man gives himself to art. The beautiful is that which affords the maximum of stimulation with the minimum of waste. Differences in the estimation of beauty proceed from taste. Taste can be educated. We must have faith in the judgments “of the finest-nurtured and most discriminative” men. These people form the taste of the next generation.[57] According to Ker’s _Essay on the Philosophy of Art_ (1883), beauty enables us to make part of the objective world intelligible to ourselves without being troubled by reference to other parts of it, as is inevitable for science. So that art destroys the opposition between the one and the many, between the law and its manifestation, between the subject and its object, by uniting them. Art is the revelation and vindication of freedom, because it is free from the darkness and incomprehensibility of finite things.[58] According to Knight’s _Philosophy of the Beautiful_, Part II. (1893), beauty is (as with Schelling) the union of object and subject, the drawing forth from nature of that which is cognate to man, and the recognition in oneself of that which is common to all nature. The opinions on beauty and on Art here mentioned are far from exhausting what has been written on the subject. And every day fresh writers on æsthetics arise, in whose disquisitions appear the same enchanted confusion and contradictoriness in defining beauty. Some, by inertia, continue the mystical æsthetics of Baumgarten and Hegel with sundry variations; others transfer the question to the region of subjectivity, and seek for the foundation of the beautiful in questions of taste; others—the æstheticians of the very latest formation—seek the origin of beauty in the laws of physiology; and finally, others again investigate the question quite independently of the conception of beauty. Thus, Sully in his _Sensation and Intuition: Studies in Psychology and Æsthetics_ (1874), dismisses the conception of beauty altogether, art, by his definition, being the production of some permanent object or passing action fitted to supply active enjoyment to the producer, and a pleasurable impression to a number of spectators or listeners, quite apart from any personal advantage derived from it.[59] Footnote 10: Schasler, p. 361. Footnote 11: Schasler, p. 369. Footnote 12: Schasler, pp. 388-390. Footnote 13: Knight, _Philosophy of the Beautiful_, i. pp. 165, 166. Footnote 14: Schasler, p. 289. Knight, pp. 168, 169. Footnote 15: R. Kralik, _Weltschönheit, Versuch einer allgemeinen Aesthetik_, pp. 304-306. Footnote 16: