(_b_) In respect to the other organic members such as neck, breast, back, belly, arms, hands, thighs, and feet, we find here another type of co-ordination. They can no doubt possess a beautiful form, but the beauty is sensuous, vital, without expressing by virtue of their form as such a spiritual significance as the countenance expresses it. The ancients have shown for the form of these parts of the body the highest sense of beauty; but in genuine sculpture they must not merely pass as the beauty of a living organism, but as members of the _human_ form it is their further function to present the appearance of a spiritual effect, so far as this is compatible with what is purely bodily presence. Otherwise the expression of the soul would be concentrated wholly in the face, whereas in plastic sculpture what is spiritual must appear as permeating nothing less than the entire configuration, and must not be permitted to isolate itself independently and in contrast to what is corporeal. If we now inquire what are the means which enable the breast, the torso, the back, and the extremities to contribute to the expression of spirit and thereby to receive over and beyond a beautiful vitality, the breath of a spiritual life, we shall find the following: In the _first_ place there is the relation in which the limbs, in so far as that relation proceeds from the ideality of Spirit, and is freely determined by that ideality, are brought into juxtaposition. _Secondly_, there is the motion and repose in their complete freedom and beauty of form. _Thirdly_, this type of position and motion in their definite affiliation[165] and expression supplies the situation more closely, in which the Ideal, which can never consist purely in the Ideal of abstraction, is comprehended. I will add yet further some general remarks on the above points.