ductio in Platonicam Philosophiam, chap. 9), denied that there were any ideas of manufactured articles. He says: Ὁριζονται δε την ιδεαν, παραδειγμα των κατα φυσιν αιωνιον. Ουτε γαρ τοις πλειστoις των απο Πλατωνος αρεσκει, των τεχνικων ειναι ιδεας, ὁιον ασπιδος η λυρας, ουτε μην των παρα φυσιν, ὁιον πυρετου και χολερας, ουτε των κατα μερος, ὁιον Σωκρατους και Πλατωνος, αλλ᾿ ουτε των ευτελων τινος, ὁιον ρυπου και καρφους, ουτε των προς τι, ὁιον μειζονος και ὑπερεχοντος ειναι γαρ τας ιδεας νοησεις θεου αιωνιους τε και αυτοτελεις (Definiunt autem ideam exemplar æternum eorum, quæ secundum naturam existunt. Nam plurimis ex iis, qui Platonem secuti sunt, minime placuit, arte factorum ideas esse, ut clypei atque lyræ; neque rursus eorum, quæ præter naturam, ut febris et choleræ, neque particularium, ceu Socratis et Platonis; neque etiam rerum vilium, veluti sordium et festucæ; neque relationum, ut majoris et excedentis: esse namque ideas intellectiones dei æternas, ac seipsis perfectas). We may take this opportunity of mentioning another point in which our doctrine of Ideas differs very much from that of Plato. He teaches (De Rep., x., p. 288) that the object which art tries to express, the ideal of painting and poetry, is not the Idea but the particular thing. Our whole exposition hitherto has maintained exactly the opposite, and Plato's opinion is the less likely to lead us astray, inasmuch as it is the source of one of the greatest and best known errors of this great man, his depreciation and rejection of art, and especially poetry; he directly connects his false judgment in reference to this with the passage quoted.
§42. I return to the exposition of the æsthetic impression. The knowledge of the beautiful always supposes at once and inseparably the pure knowing subject and the known Idea as object. Yet the source of æsthetic satisfaction will sometimes lie more in the comprehension of the known Idea, sometimes more in the blessedness and spiritual peace of the pure knowing sub-
