(_a_) The _first_ of the particular arts with which, according to their fundamental principle, we have to start is architecture considered as a fine art. Its function consists in so elaborating the external material of inorganic Nature that the same becomes intimately connected with Spirit as an artistic and external environment. Its medium is matter itself as an external object, a heavy mass that is subject to mechanical laws; and its forms persist as the forms of inorganic Nature co-ordinated with the relations of the abstract understanding such as symmetry and so forth. In this material and in these forms the Ideal is incapable of realization as concrete spirituality, and the reality thus presented remains confronting the Idea as an external fabric with which it enters into no fusion, or has only entered so far as to establish an abstract relation. And it is in consequence of this that the fundamental type of the art of building is that of _symbolism._ Architecture is in fact the first pioneer on the highway toward the adequate realization of Godhead. In this service it is put to severe labour with objective nature, that it may disengage it by its effort from the confused growth of finitude and the distortions of contingency. By this means it levels a space for the God, informs His external environment, and builds Him His temple, as a fit place for the concentration of Spirit, and its direction to the absolute objects of intelligent life. It raises an enclosure for the congregation of those assembled, as a defence against the threatening of the tempest, against rain, the hurricane, and savage animals. It in short reveals the will thus to assemble, and although under an external relation, yet in agreement with the principles of art. A significance such as this it can to a greater or less extent import into its material and its forms, in proportion as the determinate content of its fabric, which is the object of its operations and effort, is more or less significant, is more concrete or more abstract, more profound in penetrating its own essential depth, or more obscure and superficial. Indeed architecture may in this respect proceed so far in the execution of such a purpose as to create an adequate artistic existence for such an ideal content in its very forms and material. In doing so, however, it has already passed beyond its peculiar province and is diverted into the stage immediately above it of sculpture. For the boundary of sculpture lies precisely, in this that it retains the spiritual as an inward being which persists in direct contrast to the external embodiment of architecture. It can consequently merely point to that which is absorbed in soul-life as to something external to itself.