[Footnote 70: _Ein ideelles._ The meaning is, I think, that the _materia_ is stamped with the hall-mark of deliberate artistic purpose. The ideality, though relatively jejune on such a work as the pyramids, in the higher reaches of art such as poetry and music affects of course the medium itself, the musical chord being pure ideality. Professor Bosanquet's translation omits this and the previous sentence, probably by an oversight. But it is also possible that this thinker conceived the statement _as here expressed_ to be misleading, or at least open to misconception. In architecture and even painting it is obvious, from a certain point of view, the sensuous _materia_, if directed to an artistic end, remains none the less the material borrowed from natural fact though the fact as natural may be modified in its form. Painting may _represent_ the semblance, but it employs a medium simply sensuous. Hegel has mainly before his attention here obviously the arts of painting, poetry, and music.] [Footnote 71: They are _theoretical_ because as applied to a work of art they imply the presence of the contemplative faculty. In a later section of the work Hegel makes a more complete analysis of what is implied in the sense of hearing as applied to musical composition and in the colour sense. In both cases it is obvious the mind contributes to the facts cognized. Hearing is, however, from Hegel's point of view the most _ideal_ of the two, and he conceives the position of the ears itself points to this distinction.] [Footnote 72: It may at least be questioned whether the ground given here of this distinction, or part of it, is strictly accurate. It may be said that our sense of sight and hearing are both in contact with the waves of the medium, the vibration of which produces the impression we call sound or light. The most obvious distinction then appears to be that the natural object is left as it is by hearing and sight. This at least holds good as against taste. But at least it may be questioned, I think, whether the sense of touch may not be the source of artistic enjoyment, certainly in the case of the blind. And the sense of smell at least leaves objects as they are, and some may contend that it is a source of enjoyment of the beauty of Nature. Hegel would reply, of course, that no works of human art are enjoyed by such means. The main ground is, however, that sight and hearing are the senses closest to intelligence.] [Footnote 73: By _Anschauungen_ Hegel apparently has in mind all the ideas of poetry. We should certainly rather have expected the word _Vorstellungen_, the word used being rather "visible perceptions." But the three words here seem generally to denote the subject-matter of painting, music, and poetry.]