Some may imagine it possible for the artist to compose the ideal content of genuine types by a process of sifting and selection from the facts of immediate Nature, or quite possibly from the various physiognomies and compositions which collections of engravings from the copper-plate or the wood may furnish. But a process such as this of mere collection and sifting is not the end of the matter. An artist must maintain the creative impulse alert throughout. He must himself, in the strength of his own imagination, already impregnated with the knowledge of appropriate form and made vital with profound experience and emotion, give such an embodiment to the significance, which is the inspiring motive of the work, as will make it appear throughout as metal cast at one time and is one state of fusion. B. THE DETERMINACY OF THE IDEAL To comprehend the Ideal in its intrinsic significance, that is to say, according to its fundamental notion, was a comparatively easy task. But the beauty of art, in so far as it is the Idea, is not to be restricted to the purely universal standpoint of its notional concept; even as so comprehended it must necessarily include within it determination and particularity, and is compelled to take definite embodiment as external reality. The question consequently arises in what way is the Ideal able still to assert itself in this process of objectification in the medium of external things and their finitude, and despite all that is antagonistic to ideality; and as a corollary to this we have to inquire how finite and determinate existence is enabled to attach to itself the ideality of the beauty of all art. We propose to regulate this inquiry with the following division of our subject matter. _First_, the determination of the Ideal in its simplest terms. _Secondly_, the determination of it, in so far as it proceeds by virtue of its particularity to a condition of _discordant parts_ within itself and to their resolution, a condition we may generally, define as _action_[297]. _Thirdly_, the determination of the Ideal from the point of view of it as an _external object._ I. THE IDEAL DEFINITION AS SUCH 1. We have already observed that it is the function of art to make the Divine the focus or centre of its entire exposition. It is, however, only possible for thought in its pure medium, that is to say, apart from all the sensuous material of the figurative imagination, to comprehend the Divine in its essential significance of _unity_ and _universality._ To attempt to do otherwise, by imagining a picture of God more readily grasped by the perception of the senses, is, as we know, forbidden both Jews and Mahommedans. This cuts away the ground of the figurative arts, which absolutely require form as their medium in all its concreteness of actual life; and we have only lyrical poetry left us to celebrate in its exaltation the praise of His power and glory.