(_γγ_) Inasmuch as, further, the god passes into the sphere of the human imagination, and, still more important, is represented in real bodily shape, into close relations with which again man is placed by his _cultus_ in the activities of divine worship, a fresh material is here, too, presented by such relations for the extension of all that is positive and accidental. What animals have to be sacrificed to any god, what vestments the priesthood or the worshipper must appear in, what particular sequence must be adopted in any ceremonial--by all such matters the most varied and particular incidents are accumulated. For every activity of this kind implies an indefinite number of aspects and modes of arrangement, which may accidentally fall out in this way or that, but which, as appurtenant to a sacred rite, should be something settled, and not fixed by caprice, and which necessarily tend to pass into the sphere of symbolism. The colour of the vestments is an example of this; in the ritual of Bacchus we have the colour of wine, in like manner the doe-skin in which those initiated in the mysteries were enwrapped. The same thing applies to the drapery and attributes of the gods, the bow of Pythian Apollo, the whip, the staff, and numberless other accessories. Such things become, however, gradually a custom and nothing more; no one in the practice of the same thinks any longer of their birth history; and all that we now by dint of our research point out as their significance, has in the performance of them grown to something quite external, which mankind associates himself with on account of the immediate interest, that is, from mere sense of fun, delight in the present, devotion, or simply because it is just a custom and is so fixed for his active senses, and is done in like manner by others. As an example from our own life, when we see our German youth light the Johannis fire in summer time, or play antics elsewhere, and throw it at the windows, such is for us a purely formal custom, in which the original significance fades as much into the background as at the festal dances of Greek youths and maidens the revolutions of the dance do in their imitative (like the twists and turns of some labyrinth) significance of the spiral motions of the planets. Youth does not dance in order to entertain ideas of such things, but the interest limits itself naturally to the dancing and the tasteful and graceful festivity of its beautiful motion. The entire significance, which was created by the original stimulus, and of which the reproduction was for the imagination and sensuous perception of symbolical character, is throughout an imaginative conception, whose singular traits we suffer to pass from us like a fairy story, or as in historical narrative as external detail relative to Time and Space, and of which we can only say: "It is so," or, "Such is the tale," and so forth. The interest of art can consequently only consist in this,