can only be modifications, which the indwelling Spirit of one living body attaches to this corporeal form. As a manifestation of Spirit consequently the human shape is distinct from the animal by virtue of these modifications, albeit the distinctions of the human organism from the animal are as much the result of the unconscious creation of spiritual activities, as the soul of the animal kingdom is the informing though unconscious activity of the body that belongs to it. We have thus reached the precise point of our present departure. In other words, the human body is present to the artist as Spirit's expression. What is more, he discovers it as such not merely in a general way, but also in particular characteristics it is presupposed to be the type which, in its form, its specific traits, its position and general habit, reflects the ideality of Spirit. We shall find it a difficult matter to fix in clear terms of thought the precise nature of the association between spirit and body in their relation respectively to feeling, passion, and other spiritual conditions. It has, no doubt, been attempted to develop the same scientifically both from the _pathognomical_[144] point of view and the _physiognomical._ Such attempts have hitherto not met with much success. For ourselves the science of physiognomy can only be of importance in so far as that of pathognomy is exclusively concerned with the mode under which definite feelings and passions are physically located in particular organs. It has been stated, for example, that the seat of anger is in the gall, of courage in the blood. Such statements, we may remark incidentally, are erroneous in their manner of expression. For even assuming the activity of particular organs corresponds to specific passions, we cannot say that anger, for instance, has its local position in the gall bladder, but, in so far as anger is corporeally related, the gall is pre-eminently that in which its active appearance asserts itself. In our present inquiry this pathognomical aspect does not, as already stated, concern us, because sculpture has merely to deal with that which passes over from the ideal side of Spirit into the external aspect of _form_ permitting Spirit thus to be visible in the physical environment. The sympathetic interaction between the internal organism and the feeling soul is no object of sculpture; indeed, we may add, it is unable to accept much which appears on the external surface itself, such as the tremble of the hand and the entire body in an outburst of anger, the movement of the lips, and others of like nature.