Since its material is Time rather than Space, we have this contrast with the plastic arts: Architecture, and more especially Sculpture and Painting, are obliged to select a special moment of time for the representation of the collision. As Goethe shows in the Laocoon, it will not do to select a moment at random, but that point of time must be chosen in which the collision has reached its height, and in which there is a tension of all the elements that enter the contest on both sides. A moment earlier, or a moment later, some of these elements would be eliminated from the problem, and the comprehensiveness of the work destroyed. When this proper moment is seized in Sculpture, as in the Laocoon, we can see what has been before the present moment, and easily tell what will come later. In Painting, through the fact that coloring enables more subtle effects to be wrought out, and deeper internal movements to be brought to the surface, we are not so closely confined to the “supreme moment” as in Sculpture. But it is in Music that we first get entirely free from that which confines the plastic arts. Since its form is time, it can convey the whole movement of the collision from its inception to its conclusion. Hence Music is superior to the Arts of Space, in that it can portray the internal creative process, rather than the dead results. It gives us the content in its whole process of development in a _fluid_ form, while the Sculptor must fix it in a _frigid_ form at a certain stage. Goethe and others have compared Music to Architecture—the latter is “frozen Music”; but they have not compared it to Sculpture nor Painting, for the reason that in these two arts there is a possibility of seizing the form of the individual more definitely, while in Architecture and Music the point of repose does not appear as the human form, but only as the more general one of self-relation or harmony. Thus quantitative ratios—mathematical laws—pervade and govern these two forms of Art. 8. Music, more definitely considered, arises from vibrations, producing waves in the atmosphere. The cohesive attraction of some body is attacked, and successful resistance is made; if not, there is no vibration. Thus the feeling of victory over a foreign foe is conveyed in the most elementary tones, and this is the distinction of _tone_ from _noise_, in which there is the irregularity of disruption, and not the regularity of self-equality.