If we contrast this definition of romantic art with that which was proposed to the classical--that is to say, as Greek sculpture completed the latter under the mode most conformable to it--it is obvious that the plastic figure of the god does not express the motion and activity of Spirit, in so far as the same has retired from its actual bodily shape, and has penetrated to the inner shrine of independent self-identity. That which is mutable and contingent in the empirical aspect of individuality is no doubt removed from those lofty, godlike figures: what, however, fails them is the actualization of the subjective condition in its self-subsistent being as shown in self-knowledge and self-volition. This defect makes itself felt on the exterior side in the notable fact that the direct expression of soul in its simplicity, the light of the eye, is absent from the sculptured figure. The most exalted works of beautiful sculpture are sightless. The inward life does not look forth from them as self-conscious inwardness such as this concentration of Spirit to the point of light made visible in the human eye offers us. This light of the soul falls outside of them, and is the possession of the beholder alone: he is unable to look through these figures as soul direct to soul, and eye to eye. The God of romantic art, however, is made known with sight, that is, self-knowing, subjective on the side of soul, and that soul or divine intimacy disclosing itself to soul. For the infinite negativity, the withdrawal of the spiritual into itself, cancels its discharge in the bodily frame. This subjectivity is the light of Spirit, which reveals itself in its own domain, in the place which was previously obscure, whereas the natural light can only give light on the face of an object, is in fact this _terrain_ and object, upon which it appears, and which it is aware of as itself[211]. Inasmuch as, however, this absolute intimacy of the soul expresses itself at the same time as the mode of human envisagement in its actual existing shape, and our humanity is bound up with the entire natural world, we shall find that there is no less a wide field of variety in the contents of the subjective world of mind than there is in that external appearance, to which Spirit is related as to its own dwelling-place. The reality of absolute subjectivity, as above described, in the mode of its visible manifestation, possesses the following modes of content and appearance.