From this there results an important consequence and a characteristic difference for modern art. It is that in the representation of sensuous forms, art no longer fears to admit into itself the real with its imperfections and its faults. The beautiful is no longer the essential thing; the ugly occupies a much larger place in its creations. Here, then, vanishes that ideal beauty which elevates the forms of the real world above the mortal condition, and replaces it with blooming youth. This free vitality in its infinite calmness—this divine breath which animates matter—romantic art has no longer, for essential aim, to represent these. On the contrary, it turns its back on this culminating point of classic beauty; it accords, indeed, to the ugly a limitless rôle in its creations. It permits all objects to pass into representation in spite of their accidental character. Nevertheless, those objects which are indifferent or commonplace, have value only so far as the sentiments of the soul are reflected in them. But at the highest point of its development art expresses only spirit—pure, invisible spirituality. We feel that it seeks to strip itself of all external forms, to mount into a region superior to sense, where nothing strikes the eye, where no sound longer vibrates upon the ear. Furthermore, we can say, on comparing in this respect ancient with modern art, that the fundamental trait of romantic or Christian art is the musical element, the lyric accent in poetry. The lyric accent resounds everywhere, even in epic and dramatic poetry. In the figurative arts this characteristic makes itself felt, as a breath of the soul and an atmosphere of feeling. After having thus determined the general character of romantic art, Hegel studies it more in detail; he considers it, successively, under a two-fold point of view, the religious and the profane; he follows it in its development, and points out the causes which have brought about its decadence. He concludes by some considerations upon the present state of art and its future. Let us analyze rapidly the principal ideas contained in these chapters. 1st. As to what concerns the religious side, which we have thus far been considering, Hegel, developing its principle, establishes a parallel between the religious idea in classic and romantic art; for romantic art has also its ideal, which, as we have seen already, differs essentially from the antique idea.