character, and consequently implies a mode of artistic realization which excludes other aspects. We have here a process similar to that observed in the different sciences where we find, for example, geometry exclusively adopts space as its object, jurisprudence law, philosophy the explication of the eternal Idea and its determinate existence and self-identity in the facts of experience, wherein each of the above mentioned sciences develops these objects by differentiation out of their differences, without one of them actually presenting to consciousness in its completeness that which we are accustomed in ordinary modes of thought to call concrete real existence. Art then, as a creative informing activity of spiritual origination, proceeds step by step, and separates that which in the notion, in the nature of the thing, albeit not in its determinate existence, is separated. It retains such stages consequently in their self-exclusive finity, in order to elaborate them according to their distinct peculiarities. And what contributes to this notional distinction and exclusive separation in the spatial material substance, which constitutes the element of the plastic art is corporeality in its aspect of spatial totality and its abstract configuration, in other words bodily form simply, and the more detailed particularization of the same relatively to the variety of its _colorization._ We find at this first stage the art of sculpture so placed relatively to the human form, which it treats as a stereo-metric body, merely, that is, according to form which it possesses in the three spatial dimensions. The work of art, whose process is in and through the sensuous material, must no doubt have an existence for another[119], with which forthwith the particularization commences. The primary art, however, which is concerned with the human bodily form as an expression of spiritual life, only proceeds so far in this "being for another" to the point of its first, or rather the still universal mode of Nature's own existence, that is to the point of mere visibility and existence in light generally, without uniting with the same in its presentment the relation of the latter to darkness, in which that which is visible is particularized in its own medium[120] and becomes colour. And the art occupying such a position is that of sculpture. For plastic art, which is unable as poetry to bring together the totality of the phenomenon in one equal element or world of idea, inevitably breaks up this totality[121].