On the other hand the content also attains the widest compass of particularity. Whatever can find a place in the human heart, as emotion, idea, and purpose, whatever it is capable of actually shaping--all such diversity may form part of the varied presentations of painting. The entire world of particular existence, from the most exalted embodiment of mind to the most insignificant natural fact, finds a place here. For it is possible even for finite Nature, in its particular scenes and phenomena, to form part of such artistic display, provided only that we have some reference to conscious life which makes it akin to human thought and emotion[166]. (_β_) The _second_ art which continues the further realization of the romantic type and forms a distinct contrast to painting is that of _music._ Its medium, albeit still sensuous, yet proceeds into still profounder subjectivity and particularization. We have here, too, the deliberate treatment of the sensuous medium as ideal, and it consists in the negation and idealization into the isolated unity of a single point[167], the indifferent external collocation of space[168], whose complete appearance is retained by painting and deliberately feigned in its completeness. This isolated point, viewed as this process of negation, is an essentially concrete and active process of cancellation within the determinate substance of the material medium, viewed, that is, as motion and vibration of the material object within itself and in its relation to itself. Such an inchoate ideality of matter, which no longer appears under the form of space, but as temporal ideality[169], is sound or tone. We have here the sensuous set down as negated, and its abstract visibility converted into audibility. In other words sound liberates the ideal content from its fetters in the material substance. This earliest[170] secured inwardness of matter and impregnation of it with soul-life supplies the medium for the intimacy and soul of Spirit--itself as yet indefinite--permitting, as it does, the echo and reverberation of man's emotional world through its entire range of feelings and passions. In this way music forms the centre of the romantic arts, just as sculpture represents the midway point of arrest between architecture and the arts of the romantic subjectivity. Thus, too, it forms the point of transition between the abstract, spatial sensuousness of painting and the abstract spirituality of poetry. Music carries within itself, like architecture, and in contrast to the emotional world simply and its inward self-seclusion, a relation of quantity conformable to the principles of the understanding and their modes of co-ordinated configuration[171].