(_b_) In the _second_ type of art, which we propose to call "_Classical_," the twofold defect of symbolic art is annulled. Now the symbolic configuration is imperfect, because, first, the Idea here only enters into consciousness in _abstract_ determinacy or indeterminateness: and, secondly, by reason of the fact that the coalescence of import with embodiment can only throughout remain defective, and in its turn also wholly abstract. The classical art-type solves both these difficulties. It is, in fact, the free and adequate embodiment of the Idea in the shape which, according to its notional concept, is uniquely appropriate to the Idea itself. The Idea is consequently able to unite in free and completely assonant concord with it. For this reason the classical type of art is the first to present us with the creation and vision of the complete Ideal, and to establish the same as realized fact. The conformability, however, of notion and reality in the classical type ought not to be taken in the purely _formal_ sense of the coalescence of a content with its external form, any more than this was possible in the case of the Ideal. Otherwise every copy from Nature, and every kind of portrait, every landscape, flower, scene, and so forth, which form the aim of the presentment, would at once become classical in virtue of the fact of the agreement it offers between such content and form. In classical art, on the contrary, the characteristic feature of the content consists in this, that it is itself concrete Idea, and as such the concrete spiritual; for it is only that which pertains to Spirit which is veritable ideality[142]. To secure such a content we must find out that in Nature which on its own account is that which is essentially and explicitly appropriate to the spiritual. It must be the _original_ notion itself[143], which has invented the form for concrete spirituality, and now the _subjective_ notion--in the present case the spirit of art--has merely _discovered_ it, and made it, as an existence possessed of natural shape, concordant with free and individual spirituality. Such a configuration, which the Idea essentially possesses as spiritual, and indeed as individually determinate spirituality, when it must perforce appear as a temporal phenomenon, is the _human form._ Personification and anthropomorphism have frequently been abused as a degradation of the spiritual. But art, in so far as its function is to bring to vision the spiritual in sensuous guise, must advance to such anthropomorphism, inasmuch as Spirit is only adequately presented to perception in its bodily presence. The transmigration of souls in this respect an abstract conception[144], and physiology ought to make it one of its fundamental principles, that life has necessarily, in the course of its evolution, to proceed to the human form, for the reason that it is alone the visible phenomenon adequate to the expression of intelligence.