We consequently observe that a union more at one with itself reappears in the place of that which we found in the first stage of our process, subject, however, to this characteristic difference, that the identity of the significance with its objectively real existence is no longer one immediately envisaged, but one that is _set up_ out of the difference and consequently not one previously discovered, rather we should say a mode of union that is the _product of mind_ (Spirit). That which, in its most general terms, we call the _Inward_ begins at this point to assume the solidity of self-subsistence, to be conscious of itself; it seeks for its counterfeit in the objects of Nature, which on their part possess a similar reflection in the life and destinies of Spirit. Out of this eager movement to recognize the one side in the other, and by means of the external to bring for itself visibly to sense and the imaginative faculty the significance, as also to envisage by virtue of that Inward the significance of the external shapes through a union in which both sides are associated, we get that vast impulse of art which finds its satisfaction through means which are purely symbolical. Only when the Inward is free and is driven forward to make clear to the imaginative vision in real form what it essentially is, and to have before itself this very vision, moreover, in the form of an external work, do we find that the genuine impulse of art, and the particularly plastic arts, begins to be a living fact. Then it is that the necessity is felt to clothe the Inward with a form not merely previously discovered from the resources of spiritual activity, but rather one that is minted out of spirit (mind) for the first time. In the symbol, then, there is a second form _created_, which, however, is not independently valid for itself as its main purpose, but is rather employed to envisage the significance, and stands consequently in a dependent relation to the same.