I propose to show in this paper how Bosanquet’s aesthetics, in certain of its aspects, conditions William Temple’s reflection on art — a reflection which occupies a central position in Temple’s “Christo-centric metaphysics,” and which finds expression particularly in Mens Creatrix. Bosanquet’s influence becomes still more evident if we compare Temple’s position with the philosophy of art which R.G. Collingwood delineated in the initial phase of his thought, above all in Speculum Mentis and Outlines of a Philosophy of Art.