with the purpose of affording in that shape satisfaction to higher spiritual interests, seeing that they are powerful to call forth a response and echo in the mind from all the depths of consciousness. It is thus that, in art, the sensuous is _spiritualized_, _i.e._ the _spiritual_ appears in sensuous shape. ([Greek: _b_]) But for this very reason we have a product of art only in so far as it has found a passage through the mind, and has been generated by spiritually productive activity. This leads us to the other question which we have to answer--how, that is, the sensuous side, which is indispensable to art, is operative in the artist as a productive state of the subject or person. This, the method and fashion of production, contains in itself as a subjective activity just the same properties which we found objectively present in the work of art; it must be a spiritual activity which, nevertheless, at the same time has in itself the element of sensuousness and immediateness. It is neither, on the one hand, purely mechanical work, as mere unconscious skill in sensuous sleight of hand,[68] or a formal activity according to fixed rules learnt by rote; nor is it, on the other hand, a scientific productive process, which passes from sense to abstract ideas and thoughts, or exercises itself exclusively in the element of pure thinking; rather the spiritual and the sensuous side must in artistic production be as one. For instance, it would be possible in poetical creation to try and proceed by first apprehending the theme to be treated as a prosaic thought, and by then putting it into pictorial ideas, and into rhyme, and so forth; so that the pictorial element would simply be hung upon the abstract reflections as an ornament or decoration. Such a process could only produce bad poetry, for in it there would be operative as two _separate activities_ that which in artistic production has its right place only as undivided unity.