With the rise of perspective, then, the deeper form and full metaphysical significance of the picture comes to be concentrated upon the horizon. In Renaissance art the painter had stated and the beholder had accepted the contents of the picture for what they were, as self- sufficient and co-extensive with the title. But henceforth the contents became a _means_, the mere vehicle of a meaning that was beyond the possibility of verbal expression. With Mantegna or Signorelli the pencil sketch could have stood as the picture, without being carried out in colour—in some cases, indeed, we can only regret that the artist did not stop at the cartoon. In the statue-like sketch, colour is a mere supplement. Titian, on the other hand, could be told by Michelangelo that he did not know how to draw. The “object,” i.e., that which could be exactly fixed by the drawn outline, the near and material, had in fact lost its artistic actuality; but, as the theory of art was still dominated by Renaissance impressions, there arose thereupon that strange and interminable conflict concerning the “form” and the “content” of an art-work. Mis-enunciation of the question has concealed its real and deep significance from us. The first point for consideration should have been whether painting was to be conceived of plastically or musically, as a static of things or as a dynamic of space (for in this lies the essence of the opposition between fresco and oil technique), and the second point, the opposition of Classical and Faustian world-feeling. Outlines define the material, while colour-tones interpret space.[310] But the picture of the first order belongs to directly sensible nature— it _narrates_. Space, on the contrary, is by its very essence transcendent and addresses itself to our imaginative powers, and in an art that is under its suzerainty, the narrative element enfeebles and obscures the more profound tendency. Hence it is that the theorist, able to feel the secret disharmony but misunderstanding it, clings to the superficial opposition of content and form. The problem is purely a Western one, and reveals most strikingly the complete inversion in the significance of pictorial elements that took place when the Renaissance closed down and instrumental music of the grand style came to the front. For the Classical mind no problem of form and content in this sense could exist; in an Attic statue the two are completely identical and identified in the human body.