In this formal ideality of art, however, it is not the content itself which makes the pre-eminent claim upon us, but the satisfaction we derive from the act of artistic reproduction. The representation must certainly strike us as natural, but it is not the reality of Nature that we require; it is rather that of the process of reproduction, this very deposition, in fact, of material conditions which is the poetical and ideal element of the work in the formal sense above indicated[284]. We delight in a manifestation, which appears to us a product of Nature, and which is nevertheless a product of mind without the means at Nature's disposition. The objects charm us not so much by virtue of their approach to Nature, but rather because the _artist_ has been able to effect that approach. (_b_) A further and still profounder reason for our interest in artistic products consists in this, that the content is not brought before us in those forms in which it is found in immediate existence, but, being itself minted by the mind, is capable of considerable extension and modification within such forms. All that exists in Nature is particular, and, indeed, limited in every direction by such particularity. The creative faculty[285], however, contains an intrinsic determination of universal import. And all that it produces possesses forthwith a character of universality distinct from the particularity of Nature. The creative faculty thereby secures this advantage; that being of a wider range it is more qualified to grasp ideal significance, and to insist on that explicitly in all that it shows us.