Such we may accept as the articulate totality of the particular arts; they are the external art of architecture, the objective art of sculpture and the subjective arts of painting, music, and poetry. Many other classifications than these have been attempted, for a work of art presents such a wealth of aspects, that it is quite possible, as has frequently been the case, to make first one and then another the basis of division. For instance, you may take the sensuous medium simply. Architecture may then be viewed as a kind of crystallization; sculpture, as the organic configuration of material in its sensuous and spatial totality; painting as the coloured surface and line, while in music, space, as such, passes over into the point or moment of time replete with content in itself, until we come finally to poetry, where the external medium is wholly suppressed into insignificance. Or, again, these differences have been viewed with reference to their purely abstract conditions of space and time. Such abstract divisions of works of art may, as their medium also may be consequentially traced in their characteristic features. They cannot, however, be worked out as the final and fundamental principle, because such aspects themselves derive their origins from a higher principle, and must therefore fall into subordination thereto. This higher principle we have discovered in the types of art--symbolic, classical, and romantic--which are the universal stages or phases of the Idea of beauty itself. Their relation to the individual arts in their concrete manifestation as embodiment is of a kind that these arts constitute the real and positive existence of these general art-types. For _symbolic_ art attains its most adequate realization and most pertinent application in _architecture_, in which it expatiates in the full import of its notion, and is not as yet depreciated, as it were, into the merely inorganic nature dealt with by some other art. The _classical_ type of art finds its unfettered realization, on the other hand, in sculpture, treating architecture merely as the enclosure which surrounds it, and being unable to elaborate painting and music into the wholly adequate[174] forms of its content. Finally, the _romantic_ art-type is supreme in the products of painting and music, and likewise in poetical composition, as their preeminent and unconditionally adequate modes of expression. Poetry is, however, conformable to all types of the beautiful, and its embrace reaches them all for the reason that the poetic imagination is its own proper medium, and imagination is essential to every creation of beauty, whatever its type may be.