(_d_) Following the above observations upon the modes of inquiry which were suggested by that aspect of a work of art in which, as itself an object with a material medium, it possessed an essential relation to man as himself receptive through sense, we will now examine this point of view in its more essential connection with art itself. We propose to do this partly (α) in respect to the art-product viewed as an object, partly (β) as regards the personal characteristics of the artist, his genius, talent, and so forth. We do not, however, propose to enter into matter which can in this connection exclusively proceed from the knowledge of art according to its universal concept[64]. The truth is we are not as yet in the full sense on scientific ground; we have merely reached the province of external reflection. (α) There is no question, then, that a work of art is presented to sensuous apprehension. It is submitted to the emotional sense, whether outer or inner, to sensuous perception and the imaged sense, precisely as the objective world is so presented around us, or as is our own inward sensitive nature. Even a speech, for example, may be addressed to the sensuous imagination and feeling. Notwithstanding this fact, however, the work of art is not exclusively directed to the _sensuous_ apprehension, viewed, that is, as an object materially conditioned. Its position is of the nature, that along with its sensuous presentation it is fundamentally addressed to the _mind._ The mind is intended to be affected by it and to receive some kind of satisfaction in it. This function of the work of art at once makes it clear how it is that it is in no way intended to be a natural product or, on the side where it impinges on Nature, to possess the living principle of Nature. This, at least, is a fact whether the natural product is ranked lower or higher than a _mere_ work of art, as people are accustomed to express themselves in the tone of depreciation. In other words the sensuous aspect of a work of art has a right to determinate existence only in so far as it exists for the human mind, not, however, in so far as itself, as a material object, exists for itself independently. If we examine more closely in what way the sensuous _materia_ is presented to man we find that what is so can be placed under various relations to the mind.