In the same way he is judge of the Dead, and secures as such a significance wholly released from the mere life of Nature, an import under which the symbolical tends to pass away for the reason that here the Inward and Spiritual is of itself content of the human form, which, under such a mode of relation, begins to conserve the Inward essentially belonging to it, one, that is, which through its external form signifies merely its own substance. This spiritual process, however, assumes again in equal measure as its content the external life of Nature, and, for example, in temples, number of steps, floors, and pillars, in labyrinths and their passages, windings and chambers, represents the same in an external manner. Osiris is thus quite as much the natural as he is the spiritual life in the different phases of his process[65] and its transformations; and his symbolical embodiments are partly symbolic of the elements of Nature; while again in part these changes of Nature are themselves merely symbols of spiritual activities and their various phases. For this reason, too, the human form persists here as no mere personification, such as we found to be the-case previously, because here the natural aspect, albeit from one point of view it appears as the real significance, yet from another is itself merely asserted as a symbol of the Spirit; and, generally speaking, at this stage of conception, where we find that the Inward struggles to come forth from the sense-vision of Nature, it is in a position of subordinance. For the same reason we find here that the human figure already receives an entirely different type of elaboration, attesting thereby a real effort to penetrate the arcana of true Inwardness and Spirit, though this endeavour also fails as yet to attain its object, that is, the essential freedom of the Spiritual. And it is by reason of this very defect that the human figure remains before us with neither freedom nor serene clarity, colossal, brooding, petrified, legs, arms, and head glued straitened and tight to the rest of the body, without the grace or motion of Life. Thus it is that art is first ascribed to Daedalus, in that he loosed arms and feet from their fetters, and endowed the body with movement. On account of this alternative aspect of symbolism above referred to symbolism in Egypt is, in addition to its other characteristics, a totality of symbols in the sense that what in one respect is asserted as significance is employed as symbol in a sphere cognate with it. This ambiguous association of a symbolism which makes significance and form intertwine, which is further actually typical or suggestive of much, and thereby is already concurrent with that inward subjective sense, which alone is capable of following such indications in a variety of directions[66], is the characteristic distinction of these images, albeit by reason of this ambiguity the difficulty of interpreting them is of course increased.