(γγ) It follows, then, that, though the sensuous _materia_ is unquestionably present in a work of art, it is only as surface or _show_ of the sensuous that it is under any necessity to appear. In the sensuous appearance of the work of art it is neither the concrete material stuff, the empirically perceived completeness and extension of the internal organism which is the object of desire, nor is it the universal thought of pure ideality, which in either case the mind seeks for. Its aim is the sensuous presence, which, albeit suffered to persist in its sensuousness, is equally entitled to be delivered from the framework of its purely material substance. Consequently, as compared with the immediately envisaged and incorporated object of Nature, the sensuous presence in the work of art is transmuted to mere semblance or _show_, and the work of art occupies a midway ground, with the directly perceived objective world on one side and the ideality of pure thought on the other. It is not as yet pure thought, but, despite the element of sensuousness which adheres to it, it is no longer purely material existence, in the sense at least that stones, plants, and organic life are such. The sensuous element in a work of art is rather itself somewhat of ideal intension[70], which, however, as not being actually the ideal medium of thought, is still externally presented at the same time as an object. This semblance of the sensuous presents itself to the mind externally as the form, visible appearance, and harmonious vibration of things. This is always assuming that it suffers the objects to remain in their freedom as objective facts, and does not seek to penetrate into their inward essence by abstract thought, for by doing so they would (as above explained) entirely cease to exist for it in their external singularity.