3. Now because the Idea is in this fashion concrete unity, it follows that this unity can enter into the art-consciousness only by the expansion and reconciliation of the particularities of the Idea, and it is through this evolution that artistic beauty comes to possess a totality of particular stages and forms. Therefore, after we have studied the beauty of art in itself and on its own merits, we must see how beauty as a whole breaks up into its particular determinations. This gives, as our second part, the doctrine of the types of art. These forms find their genesis in the different modes of grasping the Idea as artistic content, whereby is conditioned a difference of the form in which it manifests itself. Hence the types of art are nothing but the different relations of content and shape, relations which emanate from the Idea itself, and furnish thereby the true basis of division for this sphere. For the principle of division must always be contained in that conception whose particularization and division is in question.

We have here to consider three relations of the Idea to its outward shaping.[142]

α. First, the Idea gives rise to the beginning of Art when, being itself still in its indistinctness and obscurity, or in vicious untrue determinateness, it is made the import of artistic creations. As indeterminate it does not yet possess in itself that individuality which the Ideal demands; its abstractness and one-sidedness leave its shape to be outwardly bizarre and defective. The first form of art is therefore rather a mere search after plastic portrayal than a capacity of genuine representation. The Idea has not yet found the true form even within itself, and therefore continues to be merely the struggle and aspiration thereafter. In general terms we may call this form the Symbolic form of art. In it the abstract Idea has its outward shape external to itself[143] in natural sensuous matter, with which the process of shaping begins, and from which, qua outward expression, it is inseparable.

Natural objects are thus primarily left unaltered, and yet at the same time invested with the substantial Idea as their significance, so that they receive the vocation of expressing it, and claim to be interpreted as though the Idea itself were present in them. At the root of this is the fact that natural objects have in them an aspect in which they are capable of representing a universal meaning. But as an adequate correspondence is not yet possible, this reference can only concern an abstract attribute, as when a lion is used to mean strength.

On the other hand, this abstractness of the relation brings to consciousness no less strongly the foreignness of the Idea to natural phenomena; and the Idea, having no other reality to express it, expatiates in all these shapes, seeks itself in them in all their unrest and disproportion, but nevertheless does not find them adequate to itself. Then it proceeds to exaggerate the natural shapes and the phenomena of reality into indefiniteness and disproportion, to intoxicate itself in them, to seethe and ferment in them, to do violence to them, to distort and explode them into unnatural shapes, and strives by the variety, hugeness, and splendour of the forms employed[144] to exalt the phenomenon to the level of the Idea. For the Idea is here still more or less indeterminate and non-plastic, but the natural objects are in their shape thoroughly determinate.

Hence, in view of the unsuitability of the two elements to each other, the relation of the Idea to objective reality becomes a negative one, for the former, as in its nature inward,[145] is unsatisfied with such an externality, and as being its inner universal substance[146] persists in exaltation or Sublimity beyond and above all this inadequate abundance of shapes. In virtue of this sublimity the natural phenomena and the human shapes and incidents are accepted, and left as they were, though at the same time understood to be inadequate to their significance, which is exalted far above every earthly content.

These aspects may be pronounced in general terms to constitute the character of the primitive artistic pantheism of the East, which either charges even the meanest objects with the absolute import, or again coerces nature with violence into the expression of its view. By this means it becomes bizarre, grotesque, and tasteless, or turns the infinite but abstract freedom of the substantive Idea disdainfully against all phenomenal being as null and evanescent. By such means the import cannot be completely embodied in the expression, and in spite of all aspiration and endeavour the reciprocal inadequacy of shape and Idea remains insuperable. This may be taken as the first form of art,—Symbolic art with its aspiration, its disquiet,[147] its mystery and its sublimity.

(β) In the second form of art, which we propose to call "Classical," the double defect of symbolic art is cancelled. The plastic shape of symbolic art is imperfect, because, in the first place, the Idea in it only enters into consciousness in abstract determinateness or indeterminateness, and, in the second place, this must always make the conformity of shape to import defective, and in its turn merely abstract. The classical form of art is the solution of this double difficulty; it is the free and adequate embodiment of the Idea in the shape that, according to its conception, is peculiarly appropriate to the Idea itself. With it, therefore, the Idea is capable of entering into free and complete accord. Hence, the classical type of art is the first to afford the production and intuition of the completed Ideal, and to establish it as a realized fact.

The conformity, however, of notion and reality in classical art must not be taken in the purely formal sense of the agreement of a content with the external shape given to it, any more than this could be the case with the Ideal itself. Otherwise every copy from nature, and every type of countenance, every landscape, flower, or scene, etc., which forms the purport of any representation, would be at once made classical by the agreement which it displays between form and content. On the contrary, in classical art the peculiarity of the content consists in being itself concrete idea, and, as such, the concrete spiritual; for only the spiritual is the truly inner self. To suit such a content, then, we must search out that in Nature which on its own merits belongs to the essence and actuality of the mind. It must be the absolute[148] notion that invented the shape appropriate to concrete mind, so that the subjective notion—in this case the spirit of art—has merely found it, and brought it, as an existence possessing natural shape, into accord with free individual spirituality.[149] This shape, with which the Idea as spiritual—as individually determinate spirituality—invests itself when manifested as a temporal phenomenon, is the human form. Personification and anthropomorphism have often been decried as a degradation of the spiritual; but art, in as far as its end is to bring before perception the spiritual in sensuous form, must advance to such anthropomorphism, as it is only in its proper body that mind is adequately revealed to sense. The migration of souls is in this respect a false abstraction,[150] and physiology ought to have made it one of its axioms that life had necessarily in its evolution to attain to the human shape, as the sole sensuous phenomenon that is appropriate to mind. The human form is employed in the classical type of art not as mere sensuous existence, but exclusively as the existence and physical form corresponding to mind, and is therefore exempt from all the deficiencies of what is merely sensuous, and from the contingent finiteness of phenomenal existence. The outer shape must be thus purified in order to express in itself a content adequate to itself; and again, if the conformity of import and content is to be complete, the spiritual meaning which is the content must be of a particular kind. It must, that is to say, be qualified to express itself completely in the physical form of man, without projecting into another world beyond the scope of such an expression in sensuous and bodily terms. This condition has the effect that Mind is by it at once specified as a particular case of mind, as human mind, and not as simply absolute and eternal, inasmuch as mind in this latter sense is incapable of proclaiming and expressing itself otherwise than as intellectual being.[151]

Out of this latter point arises, in its turn, the defect which brings about the dissolution of classical art, and demands a transition into a third and higher form, viz. into the romantic form of art.

(γ) The romantic form of art destroys the completed union of the Idea and its reality, and recurs, though in a higher phase, to that difference and antagonism of two aspects which was left unvanquished by symbolic art. The classical type attained the highest excellence, of which the sensuous embodiment of art is capable; and if it is in any way defective, the defect is in art as a whole, i.e. in the limitation of its sphere. This limitation consists in the fact that art as such takes for its object Mind—the conception of which is infinite concrete universality—in the shape of sensuous concreteness, and in the classical phase sets up the perfect amalgamation of spiritual and sensuous existence as a Conformity of the two. Now, as a matter of fact, in such an amalgamation Mind cannot be represented according to its true notion. For mind is the infinite subjectivity of the Idea, which, as absolute inwardness,[152] is not capable of finding free expansion in its true nature on condition of remaining transposed into a bodily medium as the existence appropriate to it.

As an escape from such a condition the romantic form of art in its turn dissolves the inseparable unity of the classical phase, because it has won a significance which goes beyond the classical form of art and its mode of expression.[153] This significance—if we may recall familiar ideas—coincides with what Christianity declares to be true of God as Spirit, in contradistinction to the Greek faith in gods which forms the essential and appropriate content for classical art. In Greek art the concrete import is potentially, but not explicitly, the unity of the human and divine nature; a unity which, just because it is purely immediate[154] and not explicit, is capable of adequate manifestation in an immediate and sensuous mode. The Greek god is the object of naive intuition and sensuous imagination. His shape is, therefore, the bodily shape of man. The circle of his power and of his being is individual and individually limited. In relation with the subject,[155] he is, therefore, an essence and a power with which the subject's inner being is merely in latent unity, not itself possessing this unity as inward subjective knowledge. Now the higher stage is the knowledge of this latent unity, which as latent is the import of the classical form of art, and capable of perfect representation in bodily shape. The elevation of the latent or potential into self-conscious knowledge produces an enormous difference. It is the infinite difference which, e.g., separates man as such from the animals. Man is animal, but even in his animal functions he is not confined within the latent and potential as the animal is, but becomes conscious of them, learns to know them, and raises them—as, for instance, the process of digestion—into self-conscious science. By this means Man breaks the boundary of merely potential and immediate consciousness, so that just for the reason that he knows himself to be animal, he ceases to be animal, and, as mind, attains to self-knowledge.

If in the above fashion the unity of the human and divine nature, which in the former phase was potential, is raised from an immediate to a conscious unity, it follows that the true medium for the reality of this content is no longer the sensuous immediate existence of the spiritual, the human bodily shape, but self-conscious inward intelligence.[156] Now, Christianity brings God before our intelligence as spirit, or mind—not as particularized individual spirit, but as absolute, in spirit and in truth. And for this reason Christianity retires from the sensuousness of imagination into intellectual inwardness, and makes this, not bodily shape, the medium and actual existence of its significance. So, too, the unity of the human and divine nature is a conscious unity, only to be realized by spiritual knowledge and in spirit. Thus the new content, won by this unity, is not inseparable from sensuous representation, as if that were adequate to it, but is freed from this immediate existence, which has to be posited[157] as negative, absorbed, and reflected into the spiritual unity. In this way, romantic art must be considered as art transcending itself, while remaining within the artistic sphere and in artistic form.

Therefore, in short, we may abide by the statement that in this third stage the object (of art) is free, concrete intellectual being, which has the function of revealing itself as spiritual existence for the inward[158] world of spirit. In conformity with such an object-matter, art cannot work for sensuous perception. It must address itself to the inward mind, which coalesces with its object simply and as though this were itself,[159] to the subjective inwardness, to the heart, the feeling, which, being spiritual, aspires to freedom within itself, and seeks and finds its reconciliation only in the spirit within. It is this inner world that forms the content of the romantic, and must therefore find its representation as such inward feeling, and in the show or presentation of such feeling. The world of inwardness celebrates its triumph over the outer world, and actually in the sphere of the outer and in its medium manifests this its victory, owing to which the sensuous appearance sinks into worthlessness.

But, on the other hand, this type of Art,[160] like every other, needs an external vehicle of expression. Now the spiritual has withdrawn into itself out of the external and its immediate oneness therewith. For this reason, the sensuous externality of concrete form is accepted and represented, as in Symbolic art, as something transient and fugitive. And the same measure is dealt to the subjective finite mind and will, even including the peculiarity or caprice of the individual, of character, action, etc., or of incident and plot. The aspect of external existence is committed to contingency, and left at the mercy of freaks of imagination, whose caprice is no more likely to mirror what is given as it is given, than to throw the shapes of the outer world into chance medley, or distort them into grotesqueness. For this external element no longer has its notion and significance, as in classical art, in its own sphere, and in its own medium. It has come to find them in the feelings, the display of which is in themselves instead of being in the external and its form of reality, and which have the power to preserve or to regain their state of reconciliation with themselves, in every accident, in every unessential circumstance that takes independent shape, in all misfortune and grief, and even in crime.

Owing to this, the characteristics of symbolic art, in difference, discrepancy, and severance of Idea and plastic shape, are here reproduced, but with an essential difference. In the sphere of the romantic, the Idea, whose defectiveness in the case of the symbol produced the defect of external shape, has to reveal itself in the medium of spirit and feelings as perfected in itself. And it is because of this higher perfection that it withdraws itself from any adequate union with the external element, inasmuch as it can seek and achieve its true reality and revelation nowhere but in itself.

This we may take as in the abstract the character of the symbolic, classical, and romantic forms of art, which represent the three relations of the Idea to its embodiment in the sphere of art. They consist in the aspiration after, and the attainment and transcendence of the Ideal as the true Idea of beauty.

4. The third part of our subject, in contradistinction to the two just described, presupposes the conception of the Ideal, and the general types of art, inasmuch as it simply consists of their realization in particular sensuous media. Hence we have no longer to do with the inner development of artistic beauty in conformity with its general fundamental principles. What we have to study is how these principles pass into actual existence, how they distinguish themselves in their external aspect, and how they give actuality to every element contained in the idea of beauty, separately and by itself as a work of art, and not merely as a general type. Now, what art transfers into external existence are the differences[161] proper to the idea of beauty and immanent therein. Therefore, the general types of art must reveal themselves in this third part, as before, in the character of the fundamental principle that determines the arrangement and definition of the several arts; in other words, the species of art contain in themselves the same essential modifications as those with which we become acquainted as the general types of art. External objectivity, however, to which these forms are introduced through the medium of a sensuous and therefore particular material, affects these types in the way of making them separate into independent and so particular forms embodying their realization. For each type finds its definite character in some one definite external material, and its adequate actuality in the mode of portrayal which that prescribes. But, moreover, these types of art, being for all their determinateness, its universal forms, break the bounds of particular realization by a determinate form of art, and achieve existence in other arts as well, although in subordinate fashion. Therefore, the particular arts belong each of them specifically to one of the general types of art, and constitute its adequate external actuality; and also they represent, each of them after its own mode of external plasticity, the totality of the types of art.[162]

Then, speaking generally, we are dealing in this third principal division with the beautiful of art, as it unfolds itself in the several arts and in their creations into a world of actualized beauty. The content of this world is the beautiful, and the true beautiful, as we saw, is spiritual being in concrete shape, the Ideal; or, more closely looked at, the absolute mind, and the truth itself. This region, that of divine truth artistically represented to perception and to feeling, forms the centre of the whole world of art. It is the independent, free, and divine plasticity, which has thoroughly mastered the external elements of form and of medium, and wears them simply as a means to manifestation of itself. Still, as the beautiful unfolds itself in this region in the character of objective reality, and in so doing distinguishes within itself its individual aspects and elements, permitting them independent particularity, it follows that this centre erects its extremes, realized in their peculiar actuality, into its own antitheses. Thus one of these extremes comes to consist in an objectivity as yet devoid of mind, in the merely natural vesture of God. At this point the external element takes plastic shape as something that has its spiritual aim and content, not in itself, but in another.[163]

The other extreme is the divine as inward, as something known, as the variously particularized subjective existence of the Deity; it is the truth as operative and vital in sense, heart, and mind of individual subjects, not persisting in the mould of its external shapes, but as having returned into subjective, individual inwardness. In such a mode, the Divine is at the same time distinguished from its first manifestation as Deity, and passes thereby into the diversity of particulars which belongs to all subjective knowledge—emotion, perception, and feeling. In the analogous province of religion, with which art at its highest stage is immediately connected, we conceive this same difference as follows. First, we think of the earthly natural life in its finiteness as standing on one side; but, then, secondly, consciousness makes God its object, in which the distinction of objectivity and subjectivity is done away. And at last, thirdly, we advance from God as such to the devotion of the community, that is, to God as living and present in the subjective consciousness. Just so these three chief modifications present themselves in the world of art in independent development.

(α) The first of the particular arts with which, according to their fundamental principle, we have to begin, is architecture considered as a fine art.[164] Its task lies in so manipulating external inorganic nature that it becomes cognate to mind, as an artistic outer world. The material of architecture is matter itself in its immediate externality as a heavy mass subject to mechanical laws, and its forms do not depart from the forms of inorganic nature, but are merely set in order in conformity with relations of the abstract understanding, i.e. with relations of symmetry. In this material and in such forms, the ideal as concrete spirituality does not admit of being realized. Hence the reality which is represented in them remains contrasted with the Idea, as something external which it has not penetrated, or has penetrated only to establish an abstract relation. For these reasons, the fundamental type of the fine art of building is the symbolical form of art. It is architecture that pioneers the way for the adequate realization of the God, and in this its service bestows hard toil upon existing nature, in order to disentangle it from the jungle of finitude and the abortiveness of chance. By this means it levels a space for the God, gives form to his external surroundings, and builds him his temple as a fit place for concentration of spirit, and for its direction to the mind's absolute objects. It raises an enclosure round the assembly of those gathered together, as a defence against the threatening of the storm, against rain, the hurricane, and wild beasts, and reveals the will to assemble, although externally, yet in conformity with principles of art. With such import as this it has power to inspire its material and its forms more or less effectively, as the determinate character of the content on behalf of which it sets to work is more or less significant, more concrete or more abstract, more profound in sounding its own depths, or more dim and more superficial. So much, indeed, may architecture attempt in this respect as even to create an adequate artistic existence for such an import in its shapes and in its material. But in such a case it has already overstepped its own boundary, and is leaning to sculpture, the phase above it. For the limit of architecture lies precisely in this point, that it retains the spiritual as an inward existence over against the external forms of the art, and consequently must refer to what has soul only as to something other than its own creations.

β Architecture, however, as we have seen, has purified the external world, and endowed it with symmetrical order and with affinity to mind; and the temple of the God, the house of his community, stands ready. Into this temple, then, in the second place, the God enters in the lightning-flash of individuality, which strikes and permeates the inert mass, while the infinite[165] and no longer merely symmetrical form belonging to mind itself concentrates and gives shape to the corresponding bodily existence. This is the task of Sculpture. In as far as in this art the spiritual inward being which architecture can but indicate makes itself at home in the sensuous shape and its external matter, and in as far as these two sides are so adapted to one another that neither is predominant, sculpture must be assigned the classical form of art as its fundamental type. For this reason the sensuous element itself has here no expression which could not be that of the spiritual element, just as, conversely, sculpture can represent no spiritual content which does not admit throughout of being adequately presented to perception in bodily form. Sculpture should place the spirit before us in its bodily form and in immediate unity therewith at rest and in peace; and the form should be animated by the content of spiritual individuality. And so the external sensuous matter is here no longer manipulated, either in conformity with its mechanical quality alone, as a mass possessing weight, nor in shapes belonging to the inorganic world, nor as indifferent to colour, etc.; but it is wrought in ideal forms of the human figure, and, it must be remarked, in all three spatial dimensions.

In this last respect we must claim for sculpture, that it is in it that the inward and spiritual are first revealed in their eternal repose and essential self-completeness. To such repose and unity with itself there can correspond only that external shape which itself maintains its unity and repose. And this is fulfilled by shape in its abstract spatiality.[166] The spirit which sculpture represents is that which is solid in itself, not broken up in the play of trivialities and of passions; and hence its external form too is not abandoned to any manifold phases of appearance, but appears under this one aspect only, as the abstraction of space in the whole of its dimensions.

(γ) Now, after architecture has erected the temple, and the hand of sculpture has supplied it with the statue of the God, then, in the third place, this god present to sense is confronted in the spacious halls of his house by the community. The community is the spiritual reflection into itself of such sensuous existence, and is the animating subjectivity and inner life which brings about the result that the determining principle for the content of art, as well as for the medium which represents it in outward form, comes to be particularization [dispersion into various shapes, attributes, incidents, etc.], individualization, and the subjectivity which they require.[167] The solid unity which the God has in sculpture breaks up into the multitudinous inner lives of individuals, whose unity is not sensuous, but purely ideal.[168]

It is only in this stage that God Himself comes to be really and truly spirit—the spirit in His (God's) community; for He here begins to be a to-and-fro, an alternation between His unity within himself and his realization in the individual's knowledge and in its separate being, as also in the common nature and union of the multitude. In the community, God is released from the abstractness of unexpanded self-identity, as well as from the simple absorption in a bodily medium, by which sculpture represents Him. And He is thus exalted into spiritual existence and into knowledge, into the reflected[169] appearance which essentially displays itself as inward and as subjectivity. Therefore the higher content is now the spiritual nature, and that in its absolute shape. But the dispersion of which we have spoken reveals this at the same time as particular spiritual being, and as individual character. Now, what manifests itself in this phase as the main thing is not the serene quiescence of the God in Himself, but appearance as such, being which is for another, self-manifestation. And hence, in the phase we have reached, all the most manifold subjectivity in its living movement and operation—as human passion, action, and incident, and, in general, the wide realm of human feeling, will, and its negation,—is for its own sake the object of artistic representation. In conformity with this content, the sensuous element of art has at once to show itself as made particular in itself and as adapted to subjective inwardness. Media that fulfil this requirement we have in colour, in musical sound, and finally in sound as the mere indication of inward perceptions and ideas; and as modes of realizing the import in question by help of these media we obtain painting, music, and poetry. In this region the sensuous medium displays itself as subdivided in its own being and universally set down as ideal.[170] Thus it has the highest degree of conformity with the content of art, which, as such, is spiritual, and the connection of intelligible import and sensuous medium develops into closer intimacy than was possible in the case of architecture and sculpture. The unity attained, however, is a more inward unity, the weight of which is thrown wholly on the subjective side, and which, in as far as form and content are compelled to particularize themselves and give themselves merely ideal existence, can only come to pass at the expense of the objective universality of the content and also of its amalgamation with the immediately sensuous element.[171]

The arts, then, of which form and content exalt themselves to ideality, abandon the character of symbolic architecture and the classical ideal of sculpture, and therefore borrow their type from the romantic form of art, whose mode of plasticity they are most adequately adapted to express. And they constitute a totality of arts, because the romantic type is the most concrete in itself.[172]

i. The articulation of this third sphere of the individual arts may be determined as follows. The first art in it, which comes next to sculpture, is painting. It employs as a medium for its content and for the plastic embodiment of that content visibility as such in as far as it is specialized in its own nature, i.e. as developed into colour. It is true that the material employed in architecture and sculpture is also visible and coloured; but it is not, as in painting, visibility as such, not the simple light which, differentiating itself in virtue of its contrast with darkness, and in combination with the latter, gives rise to colour.[173] This quality of visibility, made subjective in itself and treated as ideal, needs neither, like architecture, the abstractly mechanical attribute of mass as operative in the properties of heavy matter, nor, like sculpture, the complete sensuous attributes of space, even though concentrated into organic shapes. The visibility and the rendering visible which belong to painting have their differences in a more ideal form, in the several kinds of colour, and they liberate art from the sensuous completeness in space which attaches to material things, by restricting themselves to a plane surface.

On the other hand, the content also attains the most comprehensive specification. Whatever can find room in the human heart, as feeling, idea, and purpose; whatever it is capable of shaping into act—all this diversity of material is capable of entering into the varied content of painting. The whole realm of particular existence, from the highest embodiment of mind down to the most isolated object of nature, finds a place here. For it is possible even for finite nature,[174] in its particular scenes and phenomena, to make its appearance in the realm of art, if only some allusion to an element of mind endows it with affinity to thought and feeling.

ii. The second art in which the romantic type realizes itself is contrasted with painting, and is music. Its medium, though still sensuous, yet develops into still more thorough subjectivity and particularization. Music, too, treats the sensuous as ideal, and does so by negating,[175] and idealizing into the individual isolation of a single point, the indifferent externality[176] of space, whose complete semblance is accepted and imitated by painting. The single point, qua such a negativity (excluding space) is in itself a concrete and active process of positive negation[177] within the attributes of matter, in the shape of a motion and tremor of the material body within itself and in its relation to itself. Such an inchoate ideality of matter,[178] which appears no longer as under the form of space, but as temporal ideality,[179] is sound, the sensuous set down as negated, with its abstract visibility converted into audibility, inasmuch as sound, so to speak, liberates the ideal content from its immersion in matter. This earliest inwardness of matter and inspiration of soul into it furnishes the medium for the mental inwardness—itself as yet indefinite,—and for the soul[180] into which mind concentrates itself; and finds utterance in its tones for the heart with its whole gamut of feelings and passions. Thus music forms the centre of the romantic arts, just as sculpture represents the central point between architecture and the arts of romantic subjectivity. Thus, too, it forms the point of transition between abstract spatial sensuousness, such as painting employs, and the abstract spirituality of poetry. Music has within itself, like architecture, a relation of quantity conformable to the understanding, as the antithesis to emotion and inwardness; and has also as its basis a solid conformity to law on the part of the tones, of their conjunction, and of their succession.

iii. most spiritual mode of representation of the romantic art-type, we must look for it in poetry. Its characteristic peculiarity lies in the power with which it subjects to the mind and to its ideas the sensuous element from which music and painting in their degree began to liberate art. For sound, the only external matter which poetry retains, is in it no longer the feeling of the sonorous itself, but is a sign, which by itself is void of import. And it is a sign of the idea which has become concrete in itself and not merely of indefinite feeling and of its nuances and grades. This is how sound develops into the Word, as voice articulate in itself, whose import it is to indicate ideas and notions. The merely negative point up to which music had developed now makes its appearance as the completely concrete point, the point which is mind, the self-conscious individual, which, producing out of itself the infinite space of its ideas, unites it with the temporal character of sound. Yet this sensuous element, which in music was still immediately one with inward feeling, is in poetry separated from the content of consciousness. In poetry the mind determines this content for its own sake, and apart from all else, into the shape of ideas, and though it employs sound to express them, yet treats it solely as a symbol without value or import. Thus considered, sound may just as well be reduced to a mere letter, for the audible, like the visible, is thus depressed into a mere indication of mind.[181] For this reason the proper medium of poetical representation is the poetical imagination and intellectual portrayal itself. And as this element is common to all types of art, it follows that poetry runs through them all and develops itself independently in each. Poetry is the universal art of the mind which has become free in its own nature, and which is not tied to find its realization in external sensuous matter, but expatiates exclusively in the inner space and inner time of the ideas and feelings. Yet just in this its highest phase art ends by transcending itself, inasmuch as it abandons the medium of a harmonious embodiment of mind in sensuous form, and passes from the poetry of imagination into the prose of thought.

5. Such we may take to be the articulated totality of the particular arts, viz. the external art of architecture, the objective art of sculpture, and the subjective art of painting music and poetry. Many other classifications have been attempted, for a work of art presents so many aspects, that, as has often been the case, first one and then another is made the basis of classification. For instance, one might take the sensuous medium. Thus architecture is treated as crystallization; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance. Or, again, these differences have been considered with reference to their purely abstract attributes of space and time. Such abstract peculiarities of works of art may, like their material medium, be consistently explored in their characteristic traits; but they cannot be worked out as the ultimate and fundamental law, because any such aspect itself derives its origin from a higher principle, and must therefore be subordinate thereto.

This higher principle we have found in the types of art—symbolic, classical, and romantic—which are the universal stages or elements[182] of the Idea of beauty itself. For symbolic art attains its most adequate reality and most complete application in architecture, in which it holds sway in the full import of its notion, and is not yet degraded to be, as it were, the inorganic nature dealt with by another art. The classical type of art, on the other hand, finds adequate realization in sculpture, while it treats architecture only as furnishing an enclosure in which it is to operate, and has not acquired the power of developing painting and music as absolute[183] forms for its content. The romantic type of art, finally, takes possession of painting and music, and in like manner of poetic representation, as substantive and unconditionally adequate modes of utterance. Poetry, however, is conformable to all types of the beautiful, and extends over them all, because the artistic imagination is its proper medium, and imagination is essential to every product that belongs to the beautiful, whatever its type may be.

And, therefore, what the particular arts realize in individual works of art, are according to their abstract conception simply the universal types which constitute the self-unfolding Idea of beauty. It is as the external realization of this Idea that the wide Pantheon of art is being erected, whose architect and builder is the spirit of beauty as it awakens to self-knowledge, and to complete which the history of the world will need its evolution of ages.

THE END.

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