All that has hitherto been the object of our examination in the first part of this inquiry referred to the reality of the Idea of the beautiful as Ideal of art. In whatever direction, however, we developed the notion of the ideal art-product, we throughout applied to it a meaning of purely general signification. But the idea of the beautiful implies a totality likewise of essential differences, which as such must in veritable form assert themselves. These differences we may broadly describe as the _particular modes_ of art, as the evolved content of that which is implied in the notion of the Ideal, and which secures actual form through art. When, however, we speak of these forms of art as of distinct species or grades[1] of the Ideal, we do not accept the term in the ordinary usage of it as though we found here in external guise particular classes of objects related to and modifying the Ideal respectively as their common genus. Species in the sense used here simply expresses the various and continuously expanding determination of the idea of the beautiful and the Ideal of art itself. The universality of the ideal representation is in the case posited not determined on the side of external existence, but is assumed to be the closer determination of itself in the explication of its own notion; or, in other words, it is the notion itself which unfolds itself in a totality of particular types of art. More closely regarded, then, the specific types of art have their origin, as the unfolded realization of the Idea of the beautiful, in the very nature of the Idea itself, which by means of them presses forward to real and concrete appearance. Moreover, just in so far as it ceases to expand[2] in the abstract determination or concrete fulness of any one of them, it manifests itself in some other form of realized expression. For the Idea is only Idea in its essential truth in so far as it proceeds in this self-evolution by means of its own activity. And inasmuch as it is, as Ideal, immediate appearance, and moreover with each mode thereof is still identical as the idea of the beautiful, we find that in every particular phase which reveals the Ideal in its process of self-explication we have another actual manifestation which is immediately related to the essential characterization of those diverse types of yet further expansion. It really is a matter of no consequence whether we regard this process as a process of the Idea within its own substance, or that of the form under which it attains determinate existence, inasmuch as both aspects are immediately bound up with each other, and the perfecting of the Idea as content, and the perfecting of its form are but two ways of expressing the same process. Or, to put the matter in the reverse way, the defects of a given form of art of this kind betray themselves as a defect of the Idea, in so far as such defects give a limited significance to the essential nature