Just as in classical architecture the dwelling-house is the anatomical skeleton framework which art has to inform with its accretions, in like manner sculpture, on its part, discovers the _human form_ as the fundamental type for its figures. Whereas, however, the house is already a piece of human workmanship, though not as yet elaborated artistically, the structure of the human form, on the contrary, appears as a product of Nature unaffected by man. The fundamental type of sculpture is consequently _given_ to it, that is, does not hail from human inventiveness. The expression, however, that the human form is a part of Nature is a very indefinite one, which we must submit to closer analysis. In Nature it is the Idea, which is given there, as we have already found when discussing natural beauty, its primary and immediate mode of existence, receiving in animal life and its complete organic structure the _natural_ existence adequate to its notion. The organization of the animal frame is therefore a birth of the notion in its essential totality, which exists in this corporeal mode of being as soul, yet, as the principle of merely animal life, modifies the animal frame in the most varied classifications, albeit too every specific type continues to be subject to the general notion[139]. The fact that notion and bodily form, or more accurately, soul and body, correspond to one another--to fully understand this is the problem of natural philosophy. We should have to demonstrate that the different systems of the animal frame in their ideal[140] structure and conformation no less than their association, and the more definite organs in which the bodily existence is differentiated are in general accord with the phasal steps of the notion's movement, so that it becomes clear, to what extent we have here presented to us as real only the particular aspects of the soul-life which are necessary. To develop this exposition, however, does not lie within the scope of the present inquiry.