Of the fine arts, therefore, which, employing a material medium for their representations, possess an ideal and symbolical significance, music is the art of the soul, and sculpture is that of corporeal form, and of the manifestation of the true idea of organic beauty. But among the three sister arts, painting is the true spiritual one. As the light, with its ceaseless variety of tints and hues, is the most spiritual element of nature, and as the eye is the most spiritual of man’s senses, so painting, as concerned about these, is the most spiritual of the arts, and the one with which the symbolical spirit readily associates itself. Painting directs itself wholly to the eye, whereas sculpture appeals indeed to the eye, but only as the necessary medium for satisfying the corporeal sense and feeling. But painting, in its manifestations, does not confine itself to abstract beauty (if we may so say) or the perfect structure and symmetry of form. It embraces all the eye can reach in the visible phenomena of the world, with all its wonderful play of light and shade and magical splendor of coloring, where not only the whole, but the several parts--in a word, all that in many and various ways is charming to the senses, attractive to the eye with ever new wonders, and all that to the mind or spirit is full of deep spiritual and symbolical significance. And for this reason the wonderful art of painting is even the most appropriate, shall I say to exhibit, or rather to suggest, the high mysteries of divine love in religion and revelation. No wonder, then, if, in modern Christendom, music and painting, the art or symbolism of soul and spirit, have been chiefly cultivated, and attained their highest development and perfection, whereas the art of the perfect development of organic form and corporeal and sensual beauty, reached its height of excellence in the sculpture of classical antiquity, which in the same way and degree will never again be paralleled, or at least will never be surpassed. It appears sufficient if we assume that there are only three symbolical arts for the higher manifestation of the beautiful. For architecture, although in various ways bound and modified by the conditions of some ulterior design, is, nevertheless, in its principal features closely related to sculpture, and stands on the same line with it. For beauty of structure, correctness of proportion, and grace of symmetry, which form the fundamental laws of the plastic art, constitute also the ideal of architecture. Accordingly, among the Greeks and Romans, where the latter attained to its highest and richest cultivation, its principles, relations, and forms approximate to those of organic figure, to which they are not indeed outwardly in their structure, but in a certain degree and according to their internal constitution, similar and correspondent, or at least related.