When Hegel presented his lectures on aesthetics in the 1820s, he probably believed that his system of beauty and the fine arts was the most up-to-date and comprehensive of its time. And perhaps he was right. But Hegel himself would have been the first to admit that only in retrospect would a proper assessment of his theory emerge. As we now look back, Hegel's aesthetic theory stands as the product of mutually influencing currents of inquiry within German intellectual life of the early 1800s, the most salient of which was the philosophical effort to comprehend the universe within the contours of an encyclopedic, organically structured thought-system. Under the spell of this hopeful enterprise, Hegel composed his theory of art and beauty as a movement within his comprehensive metaphysical theory. Following the interpretative conventions of the time, he tacitly assumed that his readers would view his aesthetic theory as part of this greater metaphysical symphony - as a reflection and extension of his conception of a dynamic but essentially rational and harmonious universe. Although systematic, Hegel's aesthetics is not self-contained, and it solidly depends upon the presuppositions of his idealistic outlook.