 Bosanquet’s account of the production of the work of art and the nature of aesthetic appreciation is arguably an advance on Hegel, not only in the understanding of art and aesthetic experience as something more than a prelude to Religion, but in re-situating them within the history of the development of consciousness. (Consequently, he denied what he saw to be the Crocean interpretation of Hegel: that, at some point, art—as uniquely expressing certain truths—would cease to have a function, and be superseded by another form of consciousness.) Moreover, Bosanquet’s view that art is an expression of emotion—later articulated and developed by Croce and Collingwood—may nevertheless be able to avoid some of the criticisms raised against these later formulations. While Kobayashi has argued that this account fails to explain how the aesthetic sentiment or feeling can be shared by the artist and spectators (2009: 166), Bosanquet would likely respond that an explanation is to be found in his account of the work of art as a concrete universal. Some studies (e.g., by Morigi 2001) have suggested that there are insights within Bosanquet’s work that warrant further investigation of idealist aesthetics, and others argue that Bosanquet’s analyses of aesthetic judgement and aesthetic consciousness may plausibly bear on other fields (e.g., politics) concerning matters related to self consciousness and our relations to other persons. 