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may be discerned separately from that final effect, that joint and supersensual power, that more than analytic pleasure, which we term beauty. This is not the craft of the workman, the single nor the combined excellence s of the work, but an overshadowing power through which these have their chief value, by which the seal of a fine art is put upon them. The intellectual relations of an object, capable only of an inner presentation, are that in which, as substance, the reason sees beauty to inhere. Beauty is not these simply, though it comes and goes with their varying combinations.

Lesson 55 - 13. Infinite - p.243

13. It only remains to speak of the infinite, the last of the intuitive ideas, and one that has recently given rise to much discussion. It finds application in several directions, and perhaps, in the development of the mind, as early to space as to any other form of thought. The notion of space cannot be dwelt on without soon suggesting this idea of the infinite. The mind soon sees the inapplicability of any measures, limits, finite relations to space, and that, in the very moment of establishment, they are swept away by the on-going movement. Space lies without, as much as within, any line we choose to run, and the nearer has no advantage over the farther side. The mind under this new necessity laid upon it, with this new occasion given to it, grasps the idea of the infinite, of unmeasured and immeasurable extension. This conception is not the result of mere weariness, is not the affirmation of an inability to proceed farther, does not spring from repeated and reiterated failure; it is rather the force and insight of the mind that disclose it. It is seen that there can be no advantage in pressing the imagination to its utmost flight, that the conditions which are now present at this point of space, must recur everywhere, no matter what the position attained by us; that one point and one position here or there, that each