Throughout this essay, in our quest for the meaning of Beauty we have been driven to reject the ground of the Natural as the proper standpoint for viewing the Beautiful. Rather, in Nature regarded from the point of view of ultimate Reality, we have found a value only through relation; and it is the intuition of this relation, expressed to conscious mind, that constitutes Beauty. No relation is, however, satisfying but one which is mutual. There is beauty in all expressed relations, even those of mathematics and physics, but because these relations are primarily expressed for the purpose of the science as between thing and thing, and their relation to the perceiving mind is relegated to the background, the sense of beauty is not roused in any great degree. By scenery a far more vivid sense of beauty is kindled, and hand in hand with this goes a keener sense of dissatisfaction and creative longing. By pictures and the like we are brought into touch with the mind of the artist; he has felt a relation and given to it technical expression, and we follow anew his creative intuition. In doing so we get in some degree into relation with his mind as well as with the thing in which he saw beauty; and we derive additional joy from this personal The study of Philosophy irradiates the world for us, increasing our sense of the beauty that is in it. We understand more; the world’s relation to us is more real, deeper, wider. Religion has the same effect, though in so far as it sometimes belittles the world it tends also to deaden our understanding of the world’s beauty. But if our philosophy coincides with our religion and our scientific theory is a part of both, Beauty has a chance of winning her proper position. If this philosophy and this religion find their ultimate Reality in the personal relationship we call love; if in their ‘science’ the creative process of that love’s activity in self-limitation stands revealed; Beauty indeed comes to her own. In our intuition of the world’s beauty we are in touch with the creative idea of the Master Mind. Only a philosophy and a religion that are rooted and grounded in the God who is Love, yet take the fullest account of the time-processes of love which we call evolution, can reveal the fulness of Beauty. Then Beauty is seen as Spirit’s grasp upon the relation between all the parts of the whole—a relation that is not yet complete, and can only be complete when the sole relation is From the height of such a conception, standing upon ultimate Reality, we have looked down upon the humble beginnings of the intuition of relation, or of beauty. These we found pre-eminently in sex, and so far we were in accord with the psychoanalytic schools of Vienna and of Zurich. But we saw sex transformed and made beautiful, because our eyes were fixed, not on low, immediate purposes, but on the wonderful things that were to come. Mainly out of the relationship of sex spring music, art, literature—all the beauty that is so far removed from its physical origin—and it is in these things of eternal value that we find the true purpose of sex, as opposed to its immediate physical meaning. In music, art, literature we see the expression of growing understanding. The Reality is brought nearer and nearer to man. Could Philosophy but bring our thought in closer contact with Aesthetic, as Croce has nobly endeavoured to bring it, understanding would quicken marvellously. Could religion embrace the arts and use them, the world would move Godward with fresh inspiration; the arts themselves would be enriched, coming into their true
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