presence can be carried to the length of expressing the more intimate and more closely related inner life of the spectator, when we consider his own particularity. 2. THE PARTICULAR ASPECTS OF THE IDEAL FORM OF SCULPTURE AS SUCH If we direct our attention now to the more specific consideration of the fundamental phases, on which the ideal form of sculpture reposes, we shall do well to follow Winckelmann in essentials, who has laid stress on the several types with the finest intuitive sense, and with the most fortunate results, as well as on the way in which the same have been treated and shaped by Greek artists, with the result that they finally present to us the Ideal of sculpture. The vitality, this floating emanation no doubt evades the definitions of the understanding, which in the present case is unable to hold fast and transpierce the particular as in architecture, which, however, asserts itself in the entire work, as we have already seen, as the coalescence of free spirituality and bodily forms. The first general feature of distinction which arrests us concerns the determination of works of sculpture in a general way, by virtue of which the human form has to express that which is spiritual. The spiritual expression, albeit it has to be poured forth over the entire bodily presence reaches its highest degree of concentration in the _facial form_, whereas the remaining members are merely able to reflect what is spiritual by means of their _position_, in so far, that is, as the same proceeds from Spirit in its essential freedom. In our examination of these ideal forms we will make a beginning in the _first_ place with the head; we will, then, in the _second_ place enlarge upon the position of the body, after which we shall _conclude_ with the principle of the drapery. (_a_) In the ideal configuration of the human head we are first and foremost confronted with the so-called Greek profile. (_α_) This profile consists in the peculiar union of the forehead and nose; in the almost straight or merely slightly crooked line in which the forehead unites without interruption with the nose, as also, to speak more accurately, in the vertical direction of this line to another which, extending it from the root of the nose to the orifice of the ear, forms a right angle with the line of the forehead and nose above mentioned. In a line of this sort nose and forehead stand throughout to one another in the ideal and fine art of sculpture, and the question presents itself whether this is a merely national and artistic contingency or a physiological necessity.