affect us so beneficently, nay, so magically? Further, that the stranger or the mere passing traveller feels the picturesque or poetical effect of objects which are unable to produce this effect upon those who live among them may be explained from the fact that the novelty and complete strangeness of the objects of such an indifferent, purely objective apprehension are favourable to it. Thus, for example, the sight of an entirely strange town often makes a specially agreeable impression upon the traveller, which it by no means produces in the inhabitant of it; for it arises from the fact that the former, being out of all relation to this town and its inhabitants, perceives it purely objectively. Upon this depends partly the pleasure of travelling. This seems also to be the reason why it is sought to increase the effect of narrative or dramatic works by transferring the scene to distant times or lands: in Germany, to Italy or Spain; in Italy, to Germany, Poland, or even Holland. If now perfectly objective, intuitive apprehension, purified from all volition, is the condition of the _enjoyment_ of æsthetic objects, so much the more is it the condition of their _production_. Every good picture, every genuine poem, bears the stamp of the frame of mind described. For only what has sprung from perception, and indeed from purely objective perception, or is directly excited by it, contains the living germ from which genuine and original achievements can grow up: not only in plastic and pictorial art, but also in poetry, nay, even in philosophy. The _punctum saliens_ of every beautiful work, of every great or profound thought, is a purely objective perception. Such perception, however, is absolutely conditioned by the complete silence of the will, which leaves the man simply the pure subject of knowledge. The natural disposition for the predominance of this state is genius.