6. An interpretation of a work of art should consist in a translation of it into the form of science. Hence, first, one must seize the general content of it—or the collision portrayed. Then, secondly, the form of art employed comes in, whether it be Architecture, Sculpture, Painting, Music, or Poetry. Thirdly, the relation which the content has to the form, brings out the superior merits, or the limits and defects of the work of art in question. Thus, at the end, we have universalized the piece of art—digested it, as it were. A true interpretation does not destroy a work of art, but rather furnishes a guide to its highest enjoyment. We have the double pleasure of immediate sensuous enjoyment produced by the artistic execution, and the higher one of finding our rational nature mirrored therein so that we recognize the eternal nature of Spirit there manifested. 7. The peculiar nature of music, as contrasted with other arts, will, if exhibited, best prepare us for what we are to expect from it. The less definitely the mode of art allows its content to be seized, the wider may be its application. Landscape painting may have a very wide scope for its interpretation, while a drama of Goethe or Shakspeare definitely seizes the particulars of its collision, and leaves no doubt as to its sphere. So in the art of music, and especially instrumental music. Music does not portray an object directly, like the plastic arts, but it calls up the internal feeling which is caused by the object itself. It gives us, therefore, a reflection of our impressions excited in the immediate contemplation of the object. Thus we have a reflection of a reflection, as it were.