It is in such a truly vital atmosphere that we find moreover the breath of grace poured forth over the entire work. Grace is indeed a concession to the hearer and spectator, which the severe style despises. At the same time, whenever Charis, that is Grace, is asserted in the presence of an onlooker, if only as an acknowledgement, a means of conveying pleasure, yet in the ideal style we find that such a presence appears entirely divested of any craving to confer merely pleasure. We may perhaps explain our meaning in more technical language. The fact or subject-matter is here the substantive in its concentration and self-absorption. During the process, however, that it is manifested through the medium of art, and is, so to speak, concerned to actually exist for others, to pass over, that is, from its simplicity and essential solidarity to particularization, articulation, and individualization, we may regard this development to an existent form for others as at the same time a kind of complaisance on the part of the predominant matter, in so far, that is, as it does not appear to require this more concrete mode of existence, and yet is wholly poured forth into it for us. Such a charm as this is only entitled to assert itself in such a style so long as what is really substantive also persists in undisturbed self-possession, as we may call it, over against the grace of its manifestation, which blooms forth entirely in outward guise as an original type of superfluity. This indifference of the ideal or inner self-assurance[9] for its existence, this repose of itself on itself is precisely that which constitutes the beautiful negligence of the grace, which attributes no immediate value to this, its mode of manifestation. And it is just in this that we must look for the loftiness of the beautiful style. Beautiful free art is careless in its attitude to the external form, in which it refuses to let us see any peculiar movement of the mind, or any end or intention. Rather in every expression, every modification, it points to one thing only, and that is the idea and vital principle of the whole. It is only by this means that the Ideal of the beautiful style asserts itself, which is neither harsh nor severe, but already shows the softening influence of the cheerful notes of the beautiful. Though no violence is done either to any feature of expression, any part of the whole, and every member appears in its independence, and rejoices in its own existence, yet each and all is content at the same time to be only an aspect in the total evolved presentment. This it is which alone displays, alongside of the depth and determinacy of individuality and character, the grace of Life itself. On the one side we have indeed merely the substantial subject-matter predominant, but in the detailed exposition, in the lucid, and at the same time exhaustive variety of traits, which complete the definition of the appearance, and place it