As _an escape from such a condition_ the romantic form of art in its turn dissolves the inseparable unity of the classical phase, because it has won a significance which goes beyond the classical form of art and its mode of expression.[153] This significance--if we may recall familiar ideas--coincides with what Christianity declares to be true of God as Spirit, in contradistinction to the Greek faith in gods which forms the essential and appropriate content for classical art. In Greek art the concrete import is potentially, but not explicitly, the unity of the human and divine nature; a unity which, just because it is purely _immediate_[154] and _not explicit_, is capable of adequate manifestation in an immediate and sensuous mode. The Greek god is the object of naive intuition and sensuous imagination. His shape is, therefore, the bodily shape of man. The circle of his power and of his being is individual and individually limited. In relation with the subject,[155] he is, therefore, an essence and a power with which the subject's inner being is merely in latent unity, not itself possessing this unity as inward subjective knowledge. Now the higher stage is the _knowledge_ of this _latent_ unity, which as latent is the import of the classical form of art, and capable of perfect representation in bodily shape. The elevation of the latent or potential into self-conscious knowledge produces an enormous difference. It is the infinite difference which, _e.g._, separates man as such from the animals. Man is animal, but even in his animal functions he is not confined within the latent and potential as the animal is, but becomes conscious of them, learns to know them, and raises them--as, for instance, the process of digestion--into self-conscious science. By this means Man breaks the boundary of merely potential and immediate consciousness, so that just for the reason that he knows himself to be animal, he ceases to be animal, and, as _mind_, attains to self-knowledge.