the animal is, but it is the bodily presence which reflects Spirit to itself. Through the human eye we look into the soul of a man just as through the entire presentment of him his spiritual character is expressed. When consequently the body belongs to Spirit, as _its_ determinate presence, Spirit is also that ideal principle which is appropriate to the body, and is no form of ideality which is foreign to the external form in the sense that materiality still inherently possesses a significance other than that to which it testifies or suggests. It is quite true that the human form still carries within it much of the universal animal type, but the fundamental distinction between the human and the animal body consists simply in this, that the human is obviously, by virtue of its entire conformation, declared as the dwelling, nay, we may add the only possible dwelling-place of Spirit. And for this reason also it is only in the body that Spirit is immediately present to others. This is, however, not the place to discuss the necessity[131] of this association and the peculiar reciprocity of soul and body. We must here assume this necessity. We have, of course, many indications on the human figure of death and ugliness, that is, of other influences and defects which are traceable to their source. When we find this to be the case it is the function of art to expunge the divergence between the purely natural and the spiritual, to exalt the external bodily appearance to a form of beauty, that is, a form throughout dominated and suffused with the animation of Spirit.