For this reason the sensuous aspect of art is only related to the two _theoretical_[71] senses of _sight_ and _hearing_; smell, on the other hand, taste, and the feeling of touch are excluded from the springs of art's enjoyment. Smell, taste, and touch come into contact with matter simply as such[72], and with the immediate sensuous qualities of the same; smell with the material volatization through the air; taste with the material dissolution of substance, and touch or mere bodily feeling with qualities such as heat, coldness, smoothness, and so forth. On this account these senses cannot have to do with the objects of art, which ought to subsist in their actual and very independence, admitting of no purely sensuous or rather physical relation. The pleasant for such senses is not the beauty of art. Thus art on its sensuous side brings before us deliberately merely a shadow-world of shapes, tones, and imaged conceptions[73], and it is quite beside the point to maintain that it is simply a proof of the impotence and limitations of man that he can only present us with the surface of the physical world, mere _schemata_, when he calls into being his creative works. In art these sensuous shapes and tones are not offered as exclusively for themselves and their form to our direct vision. They are presented with the intent to secure in such shape satisfaction for higher and more spiritual interests, inasmuch as they are mighty to summon an echo and response in the human spirit evoked from all depths of its conscious life. In this way the sensuous is _spiritualized_ in art, or, in other words, the life of _spirit_ comes to dwell in it under sensuous guise.