(_β_) And, in the _second_ place, what we have observed of posture is equally applicable to _motion._ There is in sculpture as such less room for motion in the full sense of the term than other arts[167], just in so far as the same does not as yet advance to the mode of presentation which is more nearly related to an art whose sphere of effect is more extensive. The tranquil image of the god in his blessed self-seclusion is the presentment which it is its task mainly to set before us in all its essential freedom from conflict. A variety of movement is necessarily excluded from such. What we ought to have is rather a stansion or reclining posture of essential self-absorption[168]. This attitude of self wholly referable to self it is which does not proceed to a definite action, and by doing so does not contract its entire energy to the space of a single moment, making such of first importance, but rather persists in the continued equilibrium of tranquillity. We ought to be able to imagine that the figure of the gods will remain for ever in the same posture. The escape from self-subsistency, the plunging of individual life within the vortex of a particular action that implies conflict, the strain of the moment, which is unable to continue as such--such relations are foreign to the ideality of sculpture. We cross them rather where, in the case of groups and reliefs, the particular moments of an action are presented with a distinct inclination to the principle of painting. A result brought about by powerful effects, and their passing exhibition, no doubt exercises upon us an immediate impression; but after once having received it we do not readily return to it. For that which is so prominent in the presentation is the affair of a moment's passage, which we both observe and recognize in that moment, whereas the ideal fulness and freedom, what is infinite in its significance, in other words that which holds our attention permanently, is relegated to the background.