[Footnote 155: Infinite, of course, in the concrete sense of rounded in itself, as the circle, or, still more, the living organism.] [Footnote 156: Lit., "which is not also that of the spiritual sphere."] [Footnote 157: That is, an object limited only in space.] [Footnote 158: _Subjektivität._ The particularization in romantic art implies the presence of an ideal element imported by the soul of the artist, which appeals directly to the soul in its emotional life. Compare a picture by an Italian master with a Greek statue.] [Footnote 159: Lit., "A multiplicity of isolated examples of inwardness."] [Footnote 160: That is, in the life shared by all as one community actuated by a common purpose.] [Footnote 161: As in sculpture.] [Footnote 162: Professor Bosanquet's note is here (Trans., p. 166) "Posited or laid down to be ideal. This almost is equal to made _to be_ in the sense of _not being._ In other words musical sound is "ideal" as existing, _quâ_ work of art, in memory only, the moment in which it is actually heard being fugitive. A picture is equally so in respect of the third dimension, which has to be read into it. Poetry is almost wholly ideal, uses hardly any sensuous element, and appeals almost wholly to what exists in the _mind._"] [Footnote 163: By particularization is meant the variety in the material of colours, musical tones, and ideas, which latter are really quite as much the medium of poetry as written language. The _sensuous_ medium is here an abstract sign and, as Hegel would contend, nothing more than this.] [Footnote 164: Reference, of course, to Hegel's unfortunate acceptance of Goethe's theory of colour.] [Footnote 165: The colour of art is not merely ideal as applied to only two dimensions of space, but also is "subjective" in the artistic treatment of it under a definite "scheme." It is not clear whether Hegel alludes also to this; apparently not, though it is the most important feature. In fact, even assuming his theory of light to be correct, it is difficult entirely to follow his distinction between the appearance of colour on a flat or a round surface. As _natural_ colour the one would be as ideal as the other. Only regarded as a composition would painting present distinction.] [Footnote 166: It is obvious that the reference here is mainly to an intentional appeal to the human soul through the content of the composition. But the appeal may also be made through the technique and artistic treatment of the medium itself.] [Footnote 167: The parts of a chord are not in space, but are ideally cognized. Hegel describes this by saying that music idealizes space and concentrates it to a point. It would perhaps be more intelligible to say that it transmutes the positive effects of a material substance in motion into the positive and more ideal condition of time. The point which is continually negated is at least _quâ_ music the point, or rather, moment, of a temporal process.]