PAINTING The first art in this totality, which is akin to sculpture, is painting. The material which it uses for its content and for the sensuous expression of that content is visibility as such, in so far as it is individualized, viz., specified as color. To be sure, the media employed in architecture and sculpture are also visible and colored, but they are not, as in painting, visibility as such, not the simple light which contrasts itself with darkness and in combination with it becomes color. This visibility as a subjective and ideal attribute, requires neither, like architecture, the abstract mechanical form of mass which we find in heavy matter, nor, like sculpture, the three dimensions of sensuous space, even though in concentrated and organic plasticity, but the visibility which appertains to painting has its differences on a more ideal level, in the particular kinds of color; and thus painting frees art from the sensuous completeness in space peculiar to material things only, by confining itself to a plane surface. On the other hand, the content also gains in varied particularization. Whatever can find room in the human heart, as emotion, idea, and purpose, whatever it is able to frame into a deed, all this variety of material can constitute the many-colored content of painting. The whole range of particular existence, from the highest aspirations of the mind down to the most isolated objects of nature, can obtain a place in this art. For even finite nature, in its particular scenes and aspects, can here appear, if only some allusion to a spiritual element makes it akin to thought and feeling. MUSIC The second art in which the romantic form finds realization, on still a higher level than in painting, is music. Its material, though still sensuous, advances to a deeper subjectivity and greater specification. The idealization of the sensuous, music brings about by negating space. In music the indifferent extension of space whose appearance painting admits and consciously imitates is concentrated and idealized into a single point. But in the form of a motion and tremor of the material body within itself, this single point becomes a concrete and active process within the idealization of matter. Such an incipient ideality of matter which no longer appears under the spatial form, but as temporal ideality, is sound the sensuous acknowledged as ideal, whose abstract visibility is transformed into audibility. Sound, as it were, exempts the ideal from its absorption in matter.