_Secondly_, we have to ask in what manner the _forms_ of the spatial condition have to be modified in order to permit us a recognition of the spiritual in the bodily shape of beauty. What we have generally to consider here is the unity between the _ordo rerum extensarum_ and that of the _ordo rerum idearum_, the primal fair union of soul and body, in so far as spiritual ideality is expressed by sculpture exclusively in its bodily existence. This union, _thirdly_, corresponds to what we have already found to be the Ideal of the classical type of art; and for this reason the plastic forms of sculpture are nothing less than the very art itself of the classical Ideal. 1. THE ESSENTIAL CONTENT OF SCULPTURE The elementary medium, in which sculpture realizes its creations is, as we have seen, the elementary, still universal material subject to spatial condition, in which no further particularization can be utilized for an artistic purpose than the universal spatial dimensions, and the more detailed[132] spatial forms which are compatible with these dimensions under their most beautiful configuration. Now what most exceptionally corresponds as content to this more abstract aspect of the sensuous material is the _objectivity_ of Spirit which reposes on its own resources, in so far, that is, as Spirit has neither differentiated itself in contradistinction to its universal substance, nor to its determinate existence in its bodily presence, and consequently is not as yet withdrawn as independent self-subsistency into its own subjective world. There are two points we would draw attention to here.