In connection with the exposition given in § 45 of the first volume, that the discovery, recognition, and retention of the type of human beauty depends to a certain extent upon an anticipation of it, and therefore in part has an _a priori_ foundation, I find that I have yet to bring out clearly the fact that this anticipation nevertheless requires experience, by which it may be stirred up; analogous to the instinct of the brutes, which, although guiding the action _a priori_, yet requires determination by motives in the details of it. Experience and reality present to the intellect of the artist human forms, which, in one part or another, are more or less true to nature, as if it were asking for his judgment concerning them, and thus, after the Socratic method, call forth from that obscure anticipation the distinct and definite knowledge of the ideal. Therefore it assisted the Greek sculptors very much that the climate and customs of their country gave them opportunity the whole day of seeing half‐naked forms, and in the gymnasium entirely naked forms. In this way every limb presented its plastic significance to criticism, and to comparison with the ideal which lay undeveloped in their consciousness. Thus they constantly exercised their judgment with regard to all forms and limbs, down to their finest shades of difference; and thus, little by little, their originally dull anticipation of the ideal of human beauty was raised to such distinct consciousness that they became capable of objectifying it in works of art. In an entirely analogous manner some experience is useful and necessary to the poet for the representation of characters. For although he does not work according to experience and empirical data, but in accordance with the clear consciousness of the nature of humanity, as he finds it within himself, yet experience serves this consciousness as a pattern, incites it and gives it practice. Accordingly his knowledge of human nature and its varieties, although in the main it proceeds _a priori_ and by anticipation, yet first receives life, definiteness, and compass through experience. But, supporting ourselves upon the preceding book and chapter 44 in the following book, we can go still deeper into the ground of that marvellous sense of beauty of the Greeks which made them alone of all nations upon earth capable of discovering the true normal type of the human form, and accordingly of setting up the pattern of beauty and grace for the imitation of all ages, and we can say: The same thing which, if it remains unseparated from the _will_, gives sexual instinct with its discriminating selection, _i.e._, _sexual love_ (which it is well known was subject among the Greeks to great aberrations), becomes, if, by the presence of an abnormally preponderating intellect, it separates itself from the will and yet remains active, _the objective sense of beauty_ of the human form, which