Such are the points of view thus presented us which we will now consider more closely. First, then, we have to discuss 1. THE BEAUTY OF ABSTRACT FORM The form of natural beauty in its abstraction is a form which is determinate and thus of limited range; in a further aspect of it it is focussed in a unity of abstract relation to itself[241]. On closer inspection we shall, however, find that the external manifold controls this form of abstract beauty by reason of its own determinacy and unity. We must not, however, imply in these latter any immanent inwardness or form of vital ideality, but regard them as purely material definitions and unity of the external medium. Forms of such a character are uniformity, symmetry, or conformity to rule, and finally harmony. _(a) Uniformity_ Uniformity is, speaking generally, equality in external presentment, or, more specifically, the unbroken repetition of one and the same definite form, supplied by the determining unity to the form of objects. Such a unity, in virtue of its initial abstraction, is at the furthest extreme removed from the rational totality of the concrete notion. Its beauty is therefore a beauty which is referable to the faculty of the analytical understanding. The fundamental process of that faculty is to perceive objects in their abstraction, not in their self-determined completeness and identity. For example, among all lines the straight line is that which is most uniform, because it alone manifests one abstract and undeviating direction. For the same reason the cube is a figure dominated by regularity of content. All its sides are of the same size, the same length of line and the same angles, which, on account of their being rectangular, however much their size is changed, manifest no change in the form of their angles as is the case with angles which are obtuse or acute.