In truth, the imitation of actual reality, however difficult and in itself worthy of admiration it may be, does not constitute the aim or object, or generally the principle of sculpture, any more than of any other art. A remarkable proof of this is afforded by the fact that color, with all its charms, is excluded from the plastic art and its embodied manifestations as too meretricious and too closely allied to reality. For by such an expedient, not less than by the use of ingenious mechanism to give motion to the limbs, the artistic ideal, or the images of the gods, would have degenerated into the puppets of children. Reality, therefore, with its actual shapes and the delusive imitation and servile copying of them, is in nowise the proper or immediate object of the plastic art. Even beauty of form is not always, not at least solely and exclusively its aim; it is only so accidentally and relatively, as a condition of the expression of character, of external states, and of the total significance. Always and universally it is a thought, the _idea_ of some subject or form as the inner sense and significance thereof, that constitutes the essence of a work of art, and with which art in general is concerned. In other words, art is symbolical. And this may be predicated with equal truth of every higher art, as well as of sculpture, whatever may be the medium of its manifestations, whether a statue, or tone as in music, or words as in poetry. It is exactly this that constitutes the difference between high art and every other which, however closely allied to it in appearance, has some ulterior and practical object, and which therefore can not be symbolical. Of this kind, for instance, is the difference between rhetoric (which most assuredly is an art, or at least was exclusively treated as such by the Greeks) and poetry. And it is of the utmost importance to keep this distinction constantly in view. For exactly in the same degree that it is neglected is the proper character and true excellency of the higher art of the beautiful lost sight of. And a right estimate of the other arts which have an ulterior and practical object would also be endangered. An orator who with the greatest command of practical and imaginative language is nevertheless devoid of convincing logical power to sway the minds of men by his arguments, and to bend them irresistibly to his purpose, would exercise but little influence; while no heavier censure can be passed on one who sets up for a poet, than to affirm of him, that he possesses and understands nothing but the rhetoric of passion, without--though such further qualification is evidently superfluous--true poetry.