In every work of art there is a reconcilement of the external with the internal; the conscious is so impressed on the unconscious as to appear in it; as compare mere letters inscribed on a tomb with figures themselves constituting the tomb. He who combines the two is the man of genius; and for that reason he must partake of both. Hence there is in genius itself an unconscious activity; nay, that is the genius in the man of genius. And this is the true exposition of the rule that the artist must first eloign himself from nature in order to return to her with full effect. Why this? Because if he were to begin by mere painful copying, he would produce masks only, not forms breathing life. He must out of his own mind create forms according to the severe laws of the intellect, in order to generate in himself that co-ordination of freedom and law, that involution of obedience in the prescript, and of the prescript in the impulse to obey, which assimilates him to nature, and enables him to understand her. He merely absents himself for a season from her, that his own spirit, which has the same ground with nature, may learn her unspoken language in its main radicals, before he approaches to her endless compositions of them. Yes, not to acquire cold notions--lifeless technical rules--but living and life-producing ideas, which shall contain their own evidence, the certainty that they are essentially one with the germinal causes in nature--his consciousness being the focus and mirror of both,--for this does the artist for a time abandon the external real in order to return to it with a complete sympathy with its internal and actual. For of all we see, hear, feel and touch the substance is and must be in ourselves; and therefore there is no alternative in reason between the dreary (and thank heaven! almost impossible) belief that every thing around us is but a phantom, or that the life which is in us is in them likewise; and that to know is to resemble, when we speak of objects out of ourselves, even as within ourselves to learn is, according to Plato, only to recollect;--the only effective answer to which, that I have been fortunate to meet with, is that which Pope has consecrated for future use in the line-- And coxcombs vanquish Berkeley with a grin! The artist must imitate that which is within the thing, that which is active through form and figure, and discourses to us by symbols--the 'Natur-geist', or spirit of nature, as we unconsciously imitate those whom we love; for so only can he hope to produce any work truly natural in the object and truly human in the effect. The idea which puts the form together cannot itself be the form. It is above form, and is its essence, the universal in the individual, or the individuality itself,--the glance and the exponent of the indwelling power.