Henceforth, physical form, in art, loses its independent value and its separate existence; still further, the conflict of form and idea ought to cease. Form is subordinated to idea. That fermentation of the imagination which produces the fantastic, quiets itself and is calm. The previous conceptions are replaced by a mode of representation, enigmatic, it is true, but superior, and which offers to us the true character of the symbol. The idea begins to assert itself. On its side, the symbol takes a form more precise; the spiritual principle is revealed more clearly, and frees itself from physical nature, although it cannot yet appear in all its clearness. The following mode of representation corresponds to this idea of symbolic art: in the first place, the forms of nature and human actions express something other than themselves; they reveal the divine principle by qualities which are in real analogy with it. The phenomena and the laws of nature, which, in the different kingdoms, represent life, birth, growth, death and the resurrection of beings, are preferred. Such are the germination and the growth of plants, the phases of the course of the sun, the succession of the seasons, the phenomena of the increase and decrease of the Nile, etc. Here, because of the real resemblance and of natural analogies, the fantastic is abandoned. One observes a more intelligent choice of symbolic forms. There is an imagination which already knows how to regulate itself and to control itself—which shows more of calmness and reason. Here then appears a higher conciliation of idea and form, and at the same time an extraordinary tendency towards art, an irresistible inclination which is satisfied in a manner wholly symbolic, but superior to the previous modes. It is the proper tendency towards art, and principally towards the figurative arts. Hence the necessity of finding and fashioning a form, an emblem which may express the idea and may be subordinated to it; of creating a work which may reveal to spirit a general conception; of presenting a spectacle which may show that these forms have been chosen for the purpose of expressing profound ideas. This emblematic or symbolic combination can be effected in various ways. The most abstract expression is number. The symbolism of numbers plays a very important part in Egyptian art. The sacred numbers recur unceasingly in flights of steps, columns, etc. There are, moreover, symbolic figures traced in space, the windings of the labyrinth, the sacred dances which represent the movements of the heavenly bodies. In a higher grade is placed the human form, already moulded to a higher perfection than in India. A general symbol sums up the principal idea; it is the phœnix, which consumes itself and rises from its ashes.