This lyrical bent, peculiar to the artist who enhances himself by exalting his own abstract individuality, is in direct contrast with the tendency of the Saint, who crushes and annihilates this same individuality in the face of his God,--that God who infinitely occupies his consciousness as the "other" in absolute alterity to him, so that the subject is hurled into the object in a total self-abstraction. It sinks in the contemplation of its own self in its objective "otherness," of itself become the other, in which it no longer recognises itself. So he deifies this other self, places it on the altar, and kneels before it. Thus the saint's personality is nullified; or rather, it is actualised and realised in this self-annulment, which is the theoretical and practical characteristic of mysticism and the specific act of religion. It is not possible to tear art from the spirit's life, in as much as it could not be the synthesis it actually is without being subjectivity. It is equally impossible for the spirit to be completely devoid of religiosity. The mystic flower of faith grows out of the bosom of art,--a faith in an object which draws the soul to itself and conquers it. The life of the spirit is an eternal crossing from art to religion, from the subject to the object. It is impossible for the artist to realise his art in unalloyed purity, since his world, the world he has created for himself, is nevertheless the bigger world, out of which, empirically speaking, he is driven only by the needs of practical life, which awaken him and remind him of the existence of a wider world. In the same way it is impossible to realise a pure religion in which the subject completely and effectually might annihilate itself. For in the measure that faith increases in intensity, and the sentiment of one's own nothingness grows deeper, and the idea that the object is all becomes more obsessing, in that same measure the energy of the spirit increases, of the spirit as the subject that has been powerful enough to create this situation. Altars must be built in order that people may kneel in front of them. The concept of God, it, too, has a history. And from this history no word can be taken away on the assumption that it was immediately _revealed_. For there is no word which pre-exists as such before the act of him who cognises it. And to fix a dogma, that is, to rescue it from the flow of evolution, we should have to withdraw from the course of evolution the men themselves who are to accept it. Nothing therefore is more impious than the history of religion, in the course of which man, now dragging his God down to the depths of his apparent misery, now lifting him to the heights of his real greatness, progresses from station to station along the unending way of sorrows and joys. The process of mental development shows unwittingly, by the very acts of man's innocent piety, that God is _his_ God, that the life of the object is the same as the life of the subject.