It gives us keen pleasure to feel exactly how a painter like Botticelli applied the dry naturalism of the early Florentine Renaissance, as well as his own original imagination, to a subject he imperfectly realised.

Nevertheless, as Kuno Fischer has shown, he approaches the naturalism of Spinoza more nearly than he is himself conscious, when he explains finite things as limitations (hence as modes) of the divine existence, posits the will of God in dependence on his wisdom (the uncreated world of ideas), thus limiting it in its omnipotence, and, which is decisive, makes God the sole author of motion, i.e., a natural cause.

It is of importance likewise to note the way in which Young Germany learned how to gain political-literary effects from the new French models; and finally, how the Northern realism of presentation, amalgamated with Tolstoy's, Björnson's, Strindberg's and also Ibsen's ethical subjectivity, educated the naturalism of the Germans.

The present picture by one of Akbar's greatest Hindu artists illustrates the sensitive naturalism which from antecedents in Khurasan came to elegant maturity in Mughal India between 1585 and 1600.

In his criticism he completes the noëtical tendency, and at the same time overcomes naturalism, by limiting the mechanical explanation (and with it certain knowledge, it is true) to phenomena and opposing moralism to intellectualism.

The precision required in this trade forced artists to study the modelling of the human form, and promoted that crude naturalism which has been charged against their pictures.