(_c_) Inasmuch, then, as classical art comprehends free spirituality as determinate individuality, and immediately envisages the same in its bodily presentment, it frequently falls under the reproach of anthropomorphism. Even among the Greeks, to take an example, Xenophanes ridiculed the presentation of Gods by means of the sensuous image in his famous remark, that if lions had been sculptors they would have given their gods the external shape of lions. Of a similar tendency is that piece of French wit: God made men according to His image, but man has returned Him the compliment by creating God in the image of man. If we consider the matter relatively to the form of art that follows, the romantic, we may in this respect observe that the content of the classical form of beauty is no doubt defective precisely as the religion of art is so; but so little does the defect consist in anthropomorphism as such, that we may rather maintain, on the contrary, that though classical art is certainly sufficiently anthropomorphic for art, for the higher form of religion it is not enough so. Christianity has carried anthropomorphism to far greater lengths; for, according to Christian doctrine, God is not merely individuality in a human form, but a real and singular individual entirely God, and entirely a real man who has entered into all conditions of existence, and is no mere Ideal of beauty and art created by man. If our conception of the Absolute is limited to an abstract Being essentially without any characterization then, no doubt, every kind of representation vanishes, but if God is Spirit he must appear as man, as individual subject, not as ideal human being, but as actual participator in the entire externality of temporal conditions[132] which pertain to immediate and natural existence. In other words, from the Christian point of view, the infinite movement is carried to the extremest verge of opposition, and only returns to the absolute unity as the resolution of this separation. The man-becoming of God is incident to this phase or significant moment of separation; as real and individual subjectivity it is involved in the difference between unity and substance in its bare extension, and in this common sphere of temporal and spatial condition creates the consciousness in and pain of division in order through the ultimate resolution of such contradiction by the same means to arrive at eternal reconciliation. And this essential point of passage in the process, according to the Christian conception, is inherent in the nature of God Himself. As a matter of fact, God is here apprehended as absolute and free Spirit, in which Nature and immediate singularity is indeed proferred us as a phasal moment of a process, but, at the same time, as one which is necessarily transcended[133]. In classical art, on the contrary, the material medium is neither killed nor suffers death, but for this reason also we cannot wholly find in it the resurrection of Spirit.