In this and in no other sense can we say that Grecian art in its highest development rises into the characterless; but it did not aim immediately at this. It was from the bonds of Nature that it struggled upward to divine freedom. From no lightly scattered seed, but only from a deeply infolded kernel, could this heroic growth spring up. Only mighty emotions, only a deep stirring of the fancy through the impression of all-enlivening, all-commanding energies of Nature, could stamp upon Art that invincible vigor with which from the rigid, secluded earnestness of earlier productions up to the period of works overflowing with sensuous grace, it ever remained faithful to truth, and produced the highest spiritual Reality which it is given to mortals to behold. In like manner, as their Tragedy commences with the grandest characteristicness in morals, so the beginning of their Plastic Art was the earnestness of Nature, and the stern goddess of Athens its first and only Muse. This epoch is marked by that style which Winckelmann describes as the still harsh and severe, from which the next or lofty style was able to develop itself by the mere enhancement of the Characteristic into the Sublime and the Simple. For in the statues of the most perfect or divine natures not only all the complexity of form of which human nature is capable had to be united, but moreover the union must be such as may be conceived to exist in the system of the Universe itself--the lower forms, or those relating to inferior attributes, being comprehended under higher, and all at last under one supreme form, in which they indeed extinguish one another as separately existing, but still continue in Essence and efficiency. Thus, though we cannot call this high and self-sufficing Beauty characteristic, so far as herewith is connected the notion of limitation or conditionality in the manifestation, yet still the characteristic continues efficient, though indistinguishable, within; as in the crystal, although transparent, the texture nevertheless remains; each characteristic element has its weight, however slight, and helps to bring about the sublime equipoise of Beauty. The outer side or basis of all Beauty is beauty of form. But as Form cannot exist without Essence, wherever Form is, there also is Character, whether in visible presence or only perceptible in its effects. Characteristic Beauty, therefore, is Beauty in the root, from which alone Beauty can arise as the fruit. Essence may, indeed, outgrow Form, but even then the Characteristic remains as the still efficient groundwork of the Beautiful.