But in order to arrive at artistic truth it is also I necessary (here Schleiermacher's thought becomes less clear and accurate) that the singular be accompanied by consciousness of the species; consciousness of the self as individual man is impossible without consciousness of mankind; nor is a single object true unless referred to its universal. In a pictured landscape "every tree must possess natural truth, that is to say, it must be contemplated as a specimen of a given kind; similarly, the whole complex of natural and individual life must have effective truth of nature and constitute a single harmony. Just because in art we do not strive after the production of individual figures in themselves and for themselves, but their internal truth as well, we commonly assign to them a high place as being a free realization of that in which all cognition has its value, that is to say, in the principle that all forms of being are inherent in the human spirit. If this principle fails, truth is no longer possible; scepticism only remains." The productions of art are the ideal or typical figures which real nature would create were it not impeded by external influences.[11] "The artist creates a figure on the basis of a general scheme, rejecting whatever may hinder or impede the play of the living forces of reality; such a production, founded on a general scheme, is what we call the Ideal."[12] In spite of all these determinations, Schleiermacher did not apparently intend to limit the artist's scope. He remarks, "When an artist represents something really given, whether portrait, landscape or single human figure, he renounces the freedom of productivity and adheres to the real."[13] There is a twofold tendency at work in the artist: towards perfection of type, and towards representation of natural reality. An artist must not fall into the abstractness of the type or into the unmeaningness of empirical reality.[14] If in flower-painting it is necessary to bring out the specific type, a much more complete individualisation is demanded when representing man, owing to the lofty position which he occupies.[15] Representation of the ideal in the real does not exclude "an infinite variety, such as is found in actual reality." "For instance, the human face wavers between the ideal and caricature, in its moral conformation no less than in its physical. Every human face contains elements of disfigurement (_Verbildung,_) but it has also something by which it is a determinate modification of human nature; this does not appear openly, but a practised eye can seize it and ideally complete the face in question."[16] Schleiermacher is keenly aware of the difficulties and perplexities of' such problems as the question whether there exists one or many ideals of the human face.[17] He observes that the two views which strive for mastery in the field of poetry may be extended to art as a whole. Some assert that poetry and art should represent the