3. But this movement is short. The ideal style passes quickly to the graceful, to the agreeable. Here appears an aim different from that of the realization of the beautiful, which pure art ought to propose to itself, to wit: the intention of pleasing, of producing an impression on the soul. Hence arise works of a style elaborate with art, and a certain seeking for external embellishments. The subject is no more the principal thing. The attention of the artist is distracted by ornaments and accessories—by the decorations, the trimmings, the simpering airs, the attitudes and graceful postures, or the vivid colors and the attractive forms, the luxury of ornaments and draperies, the learned making of verse. But the general effect remains without grandeur and without nobleness. Beautiful proportions and grand masses give place to moderate dimensions, or are masked with ornaments. The graceful style begets the style _for effect_, which is an exaggeration of it. The art then becomes altogether conspicuous; it calls the attention of the spectator by everything that can strike the senses. The artist surrenders to it his personal ends and his design. In this species of _tête-à-tête_ with the public, there is betrayed through all, the desire of exhibiting his wit, of attracting admiration for his ability, his skill, his power of execution. This art—without naturalness, full of coquetry, of artifice and affectation, the opposite of the severe style which yields nothing to the public—is the style of the epochs of decadence. Frequently it has recourse to a last artifice, to the affectation of profundity and of simplicity, which is then only obscurity, a mysterious profundity which conceals an absence of ideas and a real impotence. This air of mystery, which parades itself, is in its turn, hardly better than coquetry; the principle is the same—the desire of producing an effect. The author then passes to the _Division of the Arts_. The common method classes them according to their means of representation, and the senses to which they are addressed. Two senses only are affected by the perception of the beautiful: _sight_, which perceives forms and colors, and _hearing_, which perceives sounds. Hence the division into _arts of design_ and _musical art_. _Poetry_, which employs speech, and addresses itself to the imagination, forms a domain apart. Without discarding this division, Hegel combines it with another more philosophical principle of classification, and one which is taken no longer from the external means of art, but from their internal relation to the very content of the ideas which it is to represent. Art has for object the representation of the ideal. The arts ought then to be classed according to the measure in which they are more or less capable of expressing it. This gradation will have at the same time the advantage of corresponding to historic progress, and to the fundamental forms of art previously studied.