[Footnote 168: By the indifferent externality of space is signified the fact that the parts of space, though external to each other, are not qualitatively distinguishable.] [Footnote 169: Succession in time is "more ideal" than coexistence in space because it exists only as continuity in a conscious subject.] [Footnote 170: Painting no doubt introduces ideal elements into the artistic composition of colour, but the colour still remains the appearance of a material thing or superficies.] [Footnote 171: That is to say, music or harmony is based on a solid conformity to law on the part of its tones in their conjunction and succession, their structure and resolution.] [Footnote 172: As in painting.] [Footnote 173: The views here propounded suggest considerable criticism. It appears to me that the stress here laid upon the intelligible content of poetry as contrasted with the sensuous qualities of its form as modulated speech is certainly untenable. What we call the music of verse may unquestionably be most intimately associated with the ideal content expressed; but apart from the artistic collocation of language as sound no less than symbol we certainly do not get the art of poetry. Even where Hegel deals directly with rhythm and rhyme in the body of the treatise I think it is clear he underrates all that is implied in the difference between the musical expression of poetry as contrasted even with the sonorous language of mere prose. A further question upon which more doubt is permissible is how far the actual script in written or printed letters is not entitled to be regarded as at least in part the sensuous medium. No doubt the poem is not dependent upon it as a painting is upon colour, or the canvas which supports it, for it may be recited. But at least it is practically dependent upon it for its preservation. The point may very possibly appear, however, as nugatory or entirely unimportant, beside the question whether the medium of the art is not really imaginative idea rather than articulate speech.] [Footnote 174: _Absolute Formen._ Adequate in the sense of being unconditionally so.] FIRST PART THE IDEA OF FINE ART, OR THE IDEAL THE POSITION OF ART RELATIVELY TO FINITE REALITY, RELIGION, AND PHILOSOPHY The conclusion of the introduction brings within sight the more methodical exposition of our subject. It will in the first place be useful as a point of departure for a true philosophy of the beautiful to sum up shortly the position of Fine Art in its general relation to the Real, no less than to emphasize the salient features which distinguish the philosophy of Fine Art from other philosophical inquiries.