Abstract

In the far-off days before the first World War, the British journal Mind was full of articles by writers who thought of themselves as “Neoidealists”. So when the enfant terrible of the groves of Academic Oxford in that generation—a “pragmatic Humanist” by the name of Ferdinand Canning Scott Schiller—played his most notorious practical joke upon his colleagues by publishing a mock-issue of the journal he offered as a frontispiece “A portrait of the Absolute in the pink of condition”. Beneath a pale-pink semi-transparent tissue one found a printed frame that embraced a perfectly blank white sheet of paper.