relations and is simply beautiful from being in direct union with the objective form adequate to its expression. Herr von Rumohr has placed on record in this very book (Book I, pp. 145-46) the following assertion, that "beauty in the most comprehensive meaning of the term, and as it is understood by intelligent people of our day, includes every quality of an object, which may either stir the sense of sight with satisfaction, or through that sense attune the soul and delight the mind." These qualities are then further subdivided into three classes as follows: "First, there is all that is perceptible through the eye; secondly, that which is apprehended by means of the peculiar, presumably innate sense of mankind for spatial relations; and thirdly, all that in the first instance works upon the understanding, and only indirectly through cognition on the emotions." This third and most important determination rests apparently on forms "which quite independently of all pleasure to the sense and the beauty of extended shape arouse in us a specific delight which is ethical or spiritual in its quality, which in part to all appearance proceeds from the enjoyment we derive from the images excited (I presume he means ethical or spiritual ones)[188], and in part from the pleasure which the mere activity of an intelligent appreciation infallibly brings with it." Such are the principal factors according to which this undoubted connoisseur of art defines his subject relatively to the beautiful. It may very possibly pass muster with a certain type of uncritical reader. It is, however, very unsatisfactory regarded from the philosophical standpoint. For what does it at bottom amount to but this, namely, that the sense of vision or spiritual sense, we may add the understanding itself, are moved pleasurably, or excite a feeling which results in awakened pleasure. The entire argument hinges on this one aspect of awakened gratification. This reduction, however, of the activity of the beautiful to terms of feeling--that which pleases and charms us--has been disposed of once for all by Kant. His exposition has already left far behind the feeling for the beautiful. We will direct our attention now from this polemical tractate to a further consideration of the Idea its hostility has failed to weaken. In this, as already stated, is comprehended the concrete _unity_ of the _notion_ and its objective realization.