[Footnote 98: That is, the spaces between the lower part of the cornice and the uppermost slab of the entablature.] [Footnote 99: The _coussinet_ is that part of the Ionic capital between the abacus and quarter round, which serves to form the volute. There are four volutes or spiral scrolls in the Ionic capital.] [Footnote 100: The _mutule_ is the projecting block worked under the corona of the Doric cornice.] [Footnote 101: Hirt, _Gesch. der Baukunst_, I, S. 254.] [Footnote 102: This must, I think, refer to the main moulding of the architrave immediately resting on the column.] [Footnote 103: Seneca, Ep. 90.] [Footnote 104: Lit., "Is raised to infinitude."] [Footnote 105: As it is, for example, by Greek capitals.] [Footnote 106: Lit., "In its penetration into the most spiritual (_innerste_, ideal) particularity."] [Footnote 107: _Sich verselbstständigen._ Hegel means that the main purpose of the exterior is expressed on the face of it.] [Footnote 108: I presume the word _Durchbrechen_ is here used in its specific architectural sense.] [Footnote 109: _Ein Malen._] [Footnote 110: _Keine in sich seyende Seele._ I presume Hegel means that being an artificial fragment of Nature's landscape it lacks the infinite horizon and the living relation to the whole.] SUBSECTION II SCULPTURE INTRODUCTION Over against the inorganic nature of Spirit, in the form we find given it by art in architecture, Spirit opposes itself directly in the sense that the work of art receives and displays spirituality as its actual content. The necessity of this advance we have already adverted to. It underlies the notion of Mind, which differentiates itself under the twofold aspect of subjective self-substantive[111] existence and pure objectivity. In this latter form of externality the ideal substance, it is true, makes its appearance by virtue of the architectonic treatment; such, however, does not amount to a complete transfusion of the objective material, or a conversion of it into an entirely adequate expression of Spirit (Mind), such as suffers it, and only it, to appear. Consequently art withdraws itself from the inorganic realm, which architecture, under its yoke of the laws of gravity, has striven to bring nearer as a means of Spirit's expression, to that of the Ideal, which forthwith then independently asserts itself in its more lofty truth without this intermingling with what is inorganic. It is during this, return passage of Spirit to its own native realm[112] from out of the world of masses and material substance that we come across _sculpture._