Among the particular arts within which we find examples of the allegory, poetry is really acting contrary to its laws when it takes refuge in such a mode of presentment; sculpture on the contrary is in most directions barely complete without it, more especially modern sculputure, which freely admits of that which is native to portraiture, and so must avail itself of allegorical figures in order to delineate more closely the relative aspects under which the individual presentment is posed. On Blucher's monument, for example, which has been raised to him here in Berlin, we find both the genius of Fame and Victory, although, having regard to the general treatment of the war of liberation, this allegorical aspect is once more set aside by means of a series of particular scenes such as the departure of the army, its march, and victorious return. Generally speaking, however, where the subject of sculpture is portraiture the sculptor will avail himself gladly of allegorical representation as offering to the simplicity of his central figure the contrast of environment and variety. The ancients on the other hand, on their sarcophagi for example, more frequently made use of general mythological representations of such figures as Sleep, Death, and the like. Allegory generally is far less common in the antique than it is in the romantic art of the Middle Ages, although it must be added that such romance as it possesses is not really referable to allegory. The frequent appearance of allegorical conception at this particular epoch of human history is to be thus explained. From a certain point of view we find that the content of the Middle Ages is preoccupied with particular types of individuality and the personal aims, generally focussed in love and honour, and resulting in vows, wanderings, and adventures, which are common to them. Individuals of this type and the events of such lives invariably offer the imagination a wide scope for the inventive faculties, and the composition of accidental and capriciously imagined collisions and their resolution. On the other hand, in direct contrast to this motley show of worldly adventure we have the universal, taking it here as the stability of the ordinary relations and conditions of life, a universal which is not, as was the case in the ancient world, individualized in the figures of self-subsistent gods; consequently we find it freely and naturally emphasized in independent isolation as such universality alongside of these particular types of personality and their specific modes of appearance and activity. If the artist therefore happens to have before his mind the general conditions of life we have adverted to, and assuming that he is desirous of giving artistic embodiment to them in some form other than the accidental mode common to his age, that he wishes, in short, to emphasize their universality, he has no other alternative than to accept the allegorical type of presentment. This is