(_β_) They are the powers of Earth and the stars 208 without spiritual or ethical content. Prometheus. The Erinnyes 209 (_γ_) The order of these gods is a succession] 215 (_c_) The conquest of the older régime of gods 217 3. The Positive Conservation of the conditions set up by Negation 220 (_a_) The Mysteries 220 (_b_) Preservation of old régime still more obvious in artistic creations. Illustrations from Greek poetry 221 (_c_) The Nature-basis of the later gods. Nature not in itself divine to the Greek. Illustrations of both points of view 223 CHAPTER II THE IDEAL OF THE CLASSICAL TYPE OF ART Introduction and Division of subject-matter 229 1. The Ideal of Classical Art generally 230 (_a_) The Classical Ideal is a creation of free artistic activity, though it reposes on earlier historical elements 230 [(_α_) The Greek gods are neither the appearance of mere external Nature, nor the abstraction from one Godhead 232 (_β_) The Greek artist is a poet. But his productive power is concretely spiritual, not merely capricious 233 (_γ_) The relation of the Greek gods to human life. Illustrations from Homer, etc.] 233 (_b_) What is the type of the new gods of Greek art? 235 [(_α_) Their concentrated individuality, or substantive characterization 236 (_β_) Their beauty not merely spiritual, but also plastic 237 (_γ_) Removal of them from all that is purely finite into a sphere of lofty blessedness exalted above mere sensuous shape] 238 (_c_) The nature of the external representation. Sculpture, in its secure self-possession, most suited as the medium 241 2. The Sphere or Cycle of the Individual Gods 242 (_a_) What is called the "divine Universum" is here broken up into particular deities 242 (_b_) Absence of an articulate system 243 (_c_) The general character of their distinguishing attributes 244 3. The particular Individuality of the Gods 246 (_a_) The appropriate material for such individualization [(_α_) The natural religions of symbolism a primary source. Illustrations 247 (_β_) That of local conditions 250 (_γ_) That of the world of concrete fact. Illustrations from Homer, etc.] 254 (_b_) Retention of a fundamental ethical basis 258 (_c_) Advance in the direction of grace and charm 259 CHAPTER III THE DISSOLUTION OF THE CLASSICAL TYPE 1. Fate or Destiny 261 2. Dissolution through the nature of the anthropomorphism of the gods 263 [(_a_) Absence or defect of the principle of subjectivity as here asserted 263 (_b_) The transition to Christian conceptions only found in more modern art. The prosaic art of the Aufklärung. Illustrations 266 (_c_) The dissolution of classical art in its own province] 270 3. Satire 273 (_a_) Distinction between the dissolution of classical and symbolic art 274 (_b_) The Satire 276 (_c_) The Roman world as the basis of the satire with illustrations ancient and modern 277 SUBSECTION III THE ROMANTIC TYPE OF ART INTRODUCTION OF THE ROMANTIC IN GENERAL