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itute the essential condition of the art。 For the thought of something as end must be present； or else its product would not be ascribed to an art at all； but would be a mere product of chance。 But the effectuation of an end necessitates determinate rules which we cannot venture to dispense with。 Now； seeing that originality of talent is one （though not the sole） essential factor that goes to make up the character of genius； shallow minds fancy that the best evidence they can give of their being full…blown geniuses is by emancipating themselves from all academic constraint of rules； in the belief that one cuts a finer figure on the back of an ill…tempered than of a trained horse。 Genius can do no more than furnish rich material for products of fine art； its elaboration and its form require a talent academically trained； so that it may be employed in such a way as to stand the test of judgement。 But； for a person to hold forth and pass sentence like a genius in matters that fall to the province of the most patient rational investigation； is ridiculous in the extreme。1 One is at a loss to know whether to laugh more at the impostor who envelops himself in such a cloud…in which we are given fuller scope to our imagination at the expense of all use of our critical faculty…or at the simple…minded public which imagines that its inability clearly to cognize and comprehend this masterpiece of penetration is due to its being invaded by new truths en masse； in comparison with which； detail； due to carefully weighed exposition and an academic examination of root principles； seems to it only the work of a tyro。
SS 48。 The relation of genius to taste。
For estimating beautiful objects； as such； what is required is taste； but for fine art； i。e。； the production of such objects； one needs genius。 If we consider genius as the talent for fine art （which the proper signification of the word imports）； and if we would analyse it from this point of view into the faculties which must concur to constitute such a talent； it is imperative at the outset accurately to determine the difference between beauty of nature； which it only requires taste to estimate； and beauty of art； which requires genius for its possibility （a possibility to which regard must also be paid in estimating such an object）。 A beauty of nature is a beautiful thing； beauty of art is a beautiful representation of a thing。 To enable me to estimate a beauty of nature； as such； I do not need to be previously possessed of a concept of what sort of a thing the object is intended to be； i。e。； I am not obliged to know its material finality （the end）； but； rather； in forming an estimate of it apart from any knowledge of the end； the mere form pleases on its own account。 If； however； the object is presented as a product of art； and is as such to be declared beautiful； then； seeing that art always presupposes an end in the cause （and its causality）； a concept of what the thing is intended to be must first of all be laid at its basis。 And； since the agreement of the manifold in a thing with an inner character belonging to it as its end constitutes the perfection of the thing； it follows that in estimating beauty of art the perfection of the thing must be also taken into account…a matter which in estimating a beauty of nature； as beautiful； is quite irrevelant。 It is true that in forming an estimate； especially of animate objects of nature； e。g。； of a man or a horse； objective finality is also commonly taken into account with a view to judgement upon their beauty； but then the judgement also ceases to be purely aesthetic； i。e。； a mere judgement of taste。 Nature is no longer estimated as it appears like art； but rather in so far as it actually is art； though superhuman art； and the teleological judgement serves as a basis and condition of the aesthetic； and one which the latter must regard。 In such a case； where one says； for example； 〃That is a beautiful woman；〃 what one in fact thinks is only this； that in her form nature excellently portrays the ends present in the female figure。 For one has to extend one's view beyond the mere form to a concept； to enable the object to be thought in such manner by means of an aesthetic judgement logically conditioned。 Where fine art evidences its superiority is in the beautiful descriptions it gives of things that in nature would be ugly or displeasing。 The Furies； diseases； devastations of war； and the like； can （as evils） be very beautifully described； nay even represented in pictures。 One kind of ugliness alone is incapable of being represented conformably to nature without destroying all aesthetic delight； and consequently artistic beauty； namely； that which excites disgust。 For； as in this strange sensation； which depends purely on the imagination； the object is represented as insisting； as it were； upon our enjoying it； while we still set our face against it； the artificial representation of the object is no longer distinguishable from the nature of the object itself in our sensation； and so it cannot possibly be regarded as beautiful。 The art of sculpture； again； since in its products art is almost confused with nature； has excluded from its creations the direct representation of ugly objects； and； instead； only sanctions； for example； the representation of death （in a beautiful genius）； or of the warlike spirit （in Mars）； by means of an allegory； or attributes which wear a pleasant guise； and so only indirectly； through an interpretation on the part of reason； and not for the pure aesthetic judgement。 So much for the beautiful representation of an object； which is properly only the form of the presentation of a concept and the means by which the latter is universally communicated。 To give this form； however； to the product of fine art； taste merely is required。 By this the artist； having practised and corrected his taste by a variety of examples from nature or art； controls his work and； after many； and often laborious； attempts to satisfy taste； finds the form which commends itself to him。 Hence this form is not； as it were； a matter of inspiration； or of a free swing of the mental powers； but rather of a slow and even painful process of improvement； directed to making the form adequate to his thought without prejudice to the freedom in the play of those powers。 Taste is； however； merely a critical； not a productive faculty； and what conforms to it is not； merely on that account； a work of fine art。 It may belong to useful and mechanical art； or even to science； as a product following definite rules which are capable of being learned and which must be closely followed。 But the pleasing form imparted to the work is only the vehicle of communication and a mode； as it were； of execution； in respect of which one remains to a certain extent free； notwithstanding being otherwise tied down to a definite end。 So we demand that table appointments； or even a moral dissertation； and； indeed； a sermon； must bear this form of fine art； yet without its appearing studied。 But one would not call them on this account works of fine art。 A poem； a musical composition； a picture…gallery； and so forth； would； however； be placed under this head； and so in a would…be work of fine art we may frequently recognize genius without taste； and in another taste without genius。
SS 49。 The faculties of the mind which constitute genius。
Of certain products which are expected； partly at least； to stand on the footing of fine art； we say they are soulless； and this； although we find nothing to censure in them as far as taste goes。 A poem may be very pretty and elegant； but is soulless。 A narrative has precision and method； but is soulless。 A speech on some festive occasion may be good in substance and ornate withal； but may be soulless。 Conversation frequently is not devoid of entertainment； but yet soulless。 Even of a woman we may well say； she is pretty； affable； and refined； but soulless。 Now what do we here mean by 〃soul〃？ Soul （Geist） in an aesthetical sense； signifies the animating principle in the mind。 But that whereby this principle animates the psychic substance （Seele）…the material which it employs for that purpose…is that which sets the