The requirement of the conformity of spiritual idea and sensuous form might at first be interpreted as meaning that any idea whatever would suffice, so long as the concrete form represented this idea and no other. Such a view, however, would confound the ideal of art with mere correctness, which consists in the expression of any meaning in its appropriate form. The artistic ideal is not to be thus understood. For any content whatever is capable, according to the standard of its own nature, of adequate representation, but yet it does not for that reason lay claim to artistic beauty in the ideal sense. Judged by the standard of ideal beauty, even such correct representation will be defective. In this connection we may remark that the defects of a work of art are not to be considered simply as always due to the incapacity of the artist; defectiveness of form has also its root in defectiveness of content. Thus, for instance, the Chinese, Indians, Egyptians, in their artistic objects, their representations of the gods, and their idols, adhered to formlessness, or to a vague and inarticulate form, and were not able to arrive at genuine beauty, because their mythological ideas, the content and conception of their works of art, were as yet vague and obscure. The more perfect in form works of art are, the more profound is the inner truth of their content and thought. And it is not merely a question of the greater or lesser skill with which the objects of external nature are studied and copied, for, in certain stages of artistic consciousness and artistic activity, the misrepresentation and distortion of natural objects are not unintentional technical inexpertness and incapacity, but conscious alteration, which depends upon the content that is in consciousness, and is, in fact, demanded by it. We may thus speak of imperfect art, which, in its own proper sphere, may be quite perfect both technically and in other respects. When compared with the highest idea and ideal of art, it is indeed defective. In the highest art alone are the idea and its representation in perfect congruity, because the sensuous form of the idea is in itself the adequate form, and because the content, which that form embodies, is itself a genuine content. The higher truth of art consists, then, in the spiritual having attained a sensuous form adequate to its essence. And this also furnishes the principle of division for the philosophy of art. For the Spirit, before it wins the true meaning of its absolute essence, has to develop through a series of stages which constitute its very life. To this universal evolution there corresponds a development of the phases of art, under the form of which the Spirit--as artist--attains to a comprehension of its own meaning.