The characteristic which is held in common by both aspects of this relation, whether we view it positively or negatively, consists in this that the substance is posited above the particular appearance, in which it is assumed to have found a representation, although it can only be declared thereby under the form of a relation to the phenomenal in its general terms, for the reason that as substance and ultimate essence it is itself essentially without form and out of the reach of concrete external existence. We may describe _pantheistic_ art as the first or affirmative mode of conception at this stage, a type of conception which we come across partly in India, and also to some extent in the liberal atmosphere and mysticism of the more modern poets of Persian Mohammedanism, and finally in the still profounder intensity of thought and emotion which characterizes it when it reappears in western Christianity. Generally, defined substance is cognized at this stage as immanent in all its created accidents, which for this reason are not as yet deposed to a mere relation of service, viewed simply, that is, as an ornament of glory to the Absolute, but are affirmatively conserved by virtue of the indwelling substance; and this is so albeit it is the One and the Divine alone which is set forth and exalted in all particularity. By this means the poet, who contemplates and reveres this unity in all things, and sinks his own individuality, no less than every other object in this contemplation, is able to maintain a positive relation to the substance, with which he associates all other objects. The _second_ or _negative_ celebration of the Power and Glory of the one God is that genuine type of Sublimity which we find in Hebrew poetry. In this the positive immanence of the Absolute in the created phenomena is done away with, and in place thereof we have the _one_ substance independently affirmed as sovereign Lord of the world, who subsists over against the universe of His creations, which are posited under a relation to this Supreme Being of essential and evanescent powerlessness. If under such a view any representation is attempted of the Power and Wisdom of this Unity under the form of the finite objects of Nature and human destinies, we find nothing here that resembles the Hindoo's distortion of such objects by the unlimited accretion to their measure. The Sublimity of God is rather brought home to our senses by means of a representation whose entire object is to show us that all that exists in definite guise, with all its splendour, embellishment and glory, is a loyal accident in His service, a show that vanishes before the Divine essence and consistency. A. THE PANTHEISM OF ART