1. The Principle of inward Subjectivity 282 2. The steps in the Evolution of the content and form of the Romantic Principle 283 [(_a_) Point of departure deduced from the Absolute viewed as the determinate existence of a self-knowing subject of thought and volition. Man viewed as self-possessed Divine. History of Christ 286 (_b_) This process of self-recognition and reconcilement viewed as a process in which strain and conflict arise. Death as viewed by Christian and Greek art contrasted 287 (_c_) The finite aspect of subjective life in the secular interests, the passions, collisions, and suffering, or enjoyment of the earthly life] 290 3. The romantic mode of exposition in relation to its content 291 (_a_) The content of romantic viewed relatively to the Divine extremely restricted. Nature divested of its association, symbolic or otherwise, with Divinity 291 (_b_) Religion the premiss of romantic art in a far more enhanced degree than in symbolic art. Influence of the romantic principle on the medium adopted 293 (_c_) Two worlds covered by the romantic principle, viz., the soul-kingdom of Spirit reconciled therein, and the realm of external Nature from which even the aspect of ugliness is not excluded. Latter world only portrayed in so far as soul finds a home therein] 293 Division of subject-matter 295 CHAPTER I THE RELIGIOUS DOMAIN OF ROMANTIC ART 1. The Redemption history of Christ 302 (_a_) The principle of Love as paramount in this religious sphere. How far Art in such a sphere is a superfluity 303 (_b_) From a certain aspect the appearance of Art is necessary 303 (_c_) The aspect of contingency in the particularity of an individual Person as such Divine 304 [(_α_) The presentment by artists of the exterior personality of Christ 304 (_β_) The conflict inherent in the religious growth, viewed as a process, though determining that process universally, is concentrated in the history of _one_ person in the first instance 306 (_γ_) The feature of death only regarded here as a point of transition to self-reconcilement] 308 2. Religious Love 309 (_a_) Conception of the Absolute as Love 309 (_b_) Form of Love as self-concentrated emotion. Affiliation of such with sensuous presentment 310 (_c_) Love as the Ideal of romantic art 310 [(_α_) Christ as Divine Love 311 (_β_) Form most compatible with Art the love of mother. Mary, mother of Jesus 311 (_γ_) Love of Christ's disciples and the Christian community] 313 3. The Spirit of the Community 313 (_a_) The Martyrs 315 (_b_) Penance and conversion within the soul 320 (_c_) Miracles and Legends 323 CHAPTER II CHIVALRY Introduction 325 1. Honour 332 (_a_) Notion of same. Contrast between Greek and modern art in this respect 332 (_b_) Vulnerability of same 335 (_c_) Reparation demanded. Honour a mode of self-subsistency which is self-reflective 336 2. Love 337 (_a_) Fundamental conception of. Illustrations from poetry 337