in the abstract the exact angle, in degrees and minutes, at which I must apply a razor, if I do not know it intuitively, that is, if I have not got it in my touch. The knowledge of physiognomy also, is interfered with by the application of reason. This knowledge must be gained directly through the understanding. We say that the expression, the meaning of the features, can only be _felt_, that is, it cannot be put into abstract concepts. Every man has his direct intuitive method of physiognomy and pathognomy, yet one man understands more clearly than another these _signatura rerum_. But an abstract science of physiognomy to be taught and learned is not possible; for the distinctions of difference are here so fine that concepts cannot reach them; therefore abstract knowledge is related to them as a mosaic is to a painting by a Van der Werft or a Denner. In mosaics, however fine they may be, the limits of the stones are always there, and therefore no continuous passage from one colour to another is possible, and this is also the case with regard to concepts, with their rigidity and sharp delineation; however finely we may divide them by exact definition, they are still incapable of reaching the finer modifications of the perceptible, and this is just what happens in the example we have taken, knowledge of physiognomy.(16) This quality of concepts by which they resemble the stones of a mosaic, and on account of which perception always remains their asymptote, is also the reason why nothing good is produced in art by their means. If the singer or the virtuoso attempts to guide his execution by reflection he remains silent. And this is equally true of the composer, the painter, and the poet. The concept always remains unfruitful in art; it can only direct the technical part of it, its sphere is science. We shall consider more fully in the third book, why all true art proceeds from sensuous knowledge, never from the concept. Indeed, with regard to behaviour also, and personal agreeableness in society, the concept has only a negative value in restraining the grosser manifestations of egotism and brutality; so that a polished manner is its commendable production. But all that is attractive, gracious, charming in behaviour, all affectionateness and friendliness, must not proceed from the concepts, for if it does, “we feel intention, and are put out of tune.” All dissimulation is the work of reflection; but it cannot be maintained constantly and without interruption: “_nemo __ potest personam diu ferre fictum_,” says Seneca in his book _de clementia_; and so it is generally found out and loses its effect. Reason is needed in the full stress of life, where quick conclusions, bold action, rapid and sure comprehension are required, but it may easily spoil all if it gains the upper hand, and by perplexing hinders the intuitive, direct discovery, and grasp of the right by simple understanding, and thus induces irresolution.