In this third province of the romantic type of art consequently the purely religious material and chivalry with those lofty views and aims that we found it brings to birth from its spiritual womb[259], but which were not directly concordant with anything visible in the reality of the existing world, have vanished. The new object of satisfaction is a thirst for this actual presence itself, a delight in the facts of existence, a contentment of the soul with the dwelling that confronts it, with the finitude of our humanity, and what is finite, particular, and the true counterfeit of such generally. Man is intent to recreate for his own world the world as he actually finds it, although such may imply a sacrifice of the Beauty and ideality of the content and manifestation will reflect it as it stands before him endowed with life in his art, will have that present life before his eyes as the work of his own mind. The religion of Christianity as we have already seen has not sprung up from the soil of the imagination as was the case with the divinities of the East and Greece, whether we consider them relatively to form or content. It is the imagination which fashions the vital significance out of its own resources in order to promote the unity between the reality of soul life with the perfected embodiment of the same. In classical art this complete coalescence is actually attained. In the Christian religion, on the other hand, the secular aspect in its exclusive character is from the first accepted for just that which it really is as an essential factor of the Ideal; and the soul of man finds satisfaction in the ordinary and contingent presence of the external world without the necessary interposition of beauty. But man is nevertheless in the first instance reconciled to God only by implication, and as a possible result. All men are called to the blessed condition, but few are chosen; and the soul for which both the kingdom of heaven and that of this world still remain as a "beyond" is constrained to renounce both that which is spiritual in the external world and its own presence therein. The point of departure is from a distance infinitely remote from that world; and to make this reality, which in the first instance is simply surrendered, a positive constituent of that which is man's own, in other words to bring about this rediscovery of himself and his volition in his own present life, from which all takes its rise, this it is which supplies us first with a terminating point in the elaboration of romantic art, and is the final outlook to which the spiritual penetration of man is carried and on which it is concentrated.