(_c_) The task of sculpture, then, essentially consists in this, that it implants that which is of substantive spiritual import in that form of individuality which is not yet essentially particularized in the narrow subjective sense within the figure of a man, and contributes to the same such a harmony, that it is only that which is universal and permanent in the _bodily shapes_ correspondent with the life of Spirit which is made to appear therein, while that which is accidental or mutable is brushed aside, albeit a certain mode of individuality is not absent from its forms. An accord of this complete nature between what is ideal and what is external, the goal of sculpture, in short, offers us a point of transition to the _third_ point which we have still to discuss. 3. SCULPTURE AS THE ART OF THE CLASSICAL IDEAL The conclusion that most immediately follows upon the above observations is this, that sculpture in a way, and to an extent unrivalled by any other art, remains constant to the Ideal[148]. In other words, from one point of view it is free of the symbolical type both by virtue of the translucency of a content, which clearly grasps itself as Spirit, and on account of the fact that it is able to disclose such a content with absolute mastery. And so, too, from another it refuses as yet to enter into the subjective aspect of the personal life, to which the external form is indifferent. Consequently it forms the focus of classical art. No doubt both the symbolical and romantic types of architecture and painting were shown to be adapted to classical ideality; but the Ideal, in its genuine sphere, is not the supreme principle of these types of art, inasmuch as they do not, as is the case with sculpture, take for their object self-subsistent individuality, character, that is, throughout objective, in other words, the beauty that is both free and inevitable[149]. The configuration of sculpture must, however, entirely proceed from the pure spiritual energy of an imagination and thought that denudes its content of all the haphazard features of personal life and bodily presence; it must have no leanings for idiosyncrasies, or any place for the mere emotion, desire, and variety of accidental impulse and pleasantry[150]. What the artist has at his disposal for his most elevated creations is simply, as we have seen, the bodily presentment of Spirit in what is exclusively the general configuration of the organic structure of the human form. His invention is therefore restricted to promoting on the broadest lines the harmony between what is ideal and what is external, and partly to making, in however an inobtrusive way, the individuality of the presentment accommodate itself to and interfuse with the truly substantive character of his design[151]. Sculpture must give form, just as the gods create in their own sphere according to eternal ideas, within what is in other respects the world of reality, but exclude as rejected residue all