But for all that we may have an art that is more lofty in its aim than this lovely revelation of Spirit in its immediate sensuous form, if at the same time one that is created by the mind as adequate to its own nature. For this coalition, which perfects itself in the medium of what is external, and thereby makes sensible reality its adequate and determinate existence, necessarily runs counter to the true notion of Spirit, and drives it forth from its reconciliation in the bodily shape upon its own essential substance to seek further reconciliation in that alone. The simple and unriven totality of the Ideal is dissolved, and breaks up into one of twofold aspect, namely, that of the essentially subjective life and its exterior semblance, in order to enable mind, by means of this severation, to win the profounder reconciliation in its own most proper element. In one word, Spirit, which has for its principle the mode of entire self-sufficiency, the union of its notion with its reality--is only able to discover an existence that wholly corresponds to such a principle in its own spiritual world of emotion, soul, that is to say, in the inward life where it feels at home. The human spirit becomes aware that it must possess its Other, its _existence_, as Spirit, which it appropriates as its own and what it verily is, and by doing so at length enjoys its own infinity and freedom. 1. This elevation of Spirit to its _own substance_, through which it attains its objectivity--which it would otherwise be obliged to seek for in the external environment of its existence within its own self and in this union with itself both feels and knows itself--is what constitutes the fundamental principle of romantic art. With this truth we may join as a corollary thereto that for this concluding stage the beauty of the classic Ideal, or in other words beauty in its most uniquely consonant form and its most conformable content, is no longer regarded as ultimate. For in arriving at the point of romantic art, Spirit[206] becomes aware that its truth is not fully attained by a self-absorption in the material of sense. On the contrary, it only comes fully to the knowledge of that truth by withdrawing itself out of that medium into the inward being of its own substance, whereby it deliberately affirms the inadequacy of external reality as a mode of its existence. It is owing to this that when this new content is set the essential task of making itself an object of beauty, the beauty, in the meaning of the terms under which we have met with it before, only persists as a subordinate mode, and the new conception of it becomes the _spiritual_ beauty of what is its own ideality made fully explicit, in other words, the subjectivity of Spirit essentially infinite in its mode.