so. For Schelling, the aesthetic is a schema or form,--that
is, the form of balance, equilibrium, reconciliation of the
rational ideal,--not a content. But Hegel's Beauty expresses
the Idea by the way of information or association. That this
is true any one of his traditional examples makes evident.
Correggio's Madonna of the St. Sebastian is found by him
inferior to the Sistine Madonna. Why? "In the first picture
we have the dearest and loveliest of human relations consecrated
by contrast with what is Divine. In the second picture we have
the Divine relation itself, showing itself under the limitations
of the human."<1> Dutch painting, he tells us, ought not to
be despised; "for it is this fresh and wakeful freedom and
vitality of mind in apprehension and presentation that forms
the highest aspect of these pictures." And a commentator adds,
"The spontaneous joy of the perfect life is figured to this
lower sphere." His whole treatment of Art as a symbol confirms
this view, as do all his criticisms. Art or Beauty shall
reveal to our understanding the eternal Ideal.

<1> Kedney's Hegel's _Aesthetics_, 1892, p. 158.

On comparing this with what we have won from Kant, Schiller,
and Schelling, the divergence becomes apparent. I have tried
to show that there is no essential difference between these
three either in their general view of the aesthetic experience,
or in the degree of objectivity of their doctrine of Beauty.
They do not contradict one another. They merely emphasize
now the unity, now the reconciliation of opposites, in the
aesthetic experience. The experience of the beautiful
constitutes a reconciliation of the warring elements of