(_a_) We will start our inquiry by examining the position in which we now find ourselves relatively to such conceptions as uniformity and symmetry. It is obvious that these, expressing as they do the entirely lifeless unity of the geometrical logic, can by no means exhaust the nature of a work of art even when entirely regarded as an external object. Such determinations are only exhaustive in their relation to what is in itself lifeless, such as time and the configuration of space. Confined in this way though they be to the barest forms of externality, they are then true witnesses both to the power and substance of reason. And consequently we find they assert themselves in a twofold manner even in art. In the first of these, it is this very quality of their abstractness which operates by way of contrast to the living pulse of art, which is forced even in the confines of its sensuous material to raise itself over and beyond mere symmetry into the freedom of the Ideal. In this process of liberation which may be exemplified in the melodies of the art of music we do not, however, find that the conformity to rule disappears altogether, it is merely made subservient as a foundation. In the second, this principle of measure and rule in its application to the indefinite and unlimited is the one and only qualifying principle which certain arts can accept owing to the nature of the media which those arts make use of. In such cases uniformity is itself and alone raised to the ideal significance of the art. The principal example of an art of this type is that of architecture; and the reason of this is that a work of art which is wholly architectonic is directed to the one object of reconstituting, by means of an artistic form, that which is essentially the external and inorganic environment of spirit. In this art, consequently, all that is rectilinear, right-angled, circular, or presents uniformity of pillars, windows, arches, piers, vaults, and so forth is the dominant principle of unity.