[Footnote 118: The meaning is that the selection is not made merely with reference to external resemblance, but is also based on relations only existing in the soul of the artist and therefore to that extent capricious, however much they appear to be essential.] [Footnote 119: _Ein blosses Sollen,_ lit., a mere "should," a mere movement in a given direction.] [Footnote 120: This is implied in the contrast of the verbs _umstalten_ and _überkleiden._] SUBSECTION II THE CLASSICAL TYPE OF ART INTRODUCTION THE CLASSIC TYPE IN GENERAL Thr central point[121] of art's evolution is the union, in a self-integrated totality, carried to the point of its freest expression, of content and form wholly adequate thereto. This realization, coinciding as it does with the entire notional concept of the beautiful, towards which the symbolic form of art strove in vain, first becomes apparent in _classical art._ We have already, in our previous consideration of the Idea of the beautiful and of art, outlined the general character of classic art. The _Ideal_ supplies a content and form to classical art, which in this adequate mode in which it is embodied reveals that which true art is according to its notion. To perfect this result, however, all the various phases of art, whose evolution is the subject-matter of our previous investigations, are contributive. For classical beauty has for its ideal substance[122] free and _independent_ significance, that is to say, not the significance of any particular thing, but a significance which _declares itself,_ and thereby points to its substance. This is the _spiritual_ substance, which in general terms is that which makes of itself an object. In this objectification _of itself_ it possesses the form of externality, which, as identical with its ideal character, is consequently also on its own part the significance of itself, and is made conscious of itself by this self-knowledge. It is true that in our consideration of the symbolical our point of departure was that of the unity of the significance and its mode of envisagement in the art product; but this unity was _purely immediate_, and for this reason inadequate.