Hitherto we have considered the Ideal of sculpture in its general character and in the further aspect of the more detailed forms which distinguish it. We have _thirdly_ only left us to emphasize the fact that the Ideals of sculpture, in so far as, in respect to their content, they have to manifest what is substantive in individualities, and in respect to their external form the human bodily shape, are also under the necessity of an advance in which the _particularity_ of their presentation is differentiated, and an aggregate of specific individuals is thereby created, just as we already, in the classical type of art, recognize the embracing circle of the Greek gods. We may, no doubt, very possibly imagine to ourselves there can only be one _exemplum_ of the finest beauty and perfection, which may be, moreover, concentrated in its absolute completeness in one statue. Such a conception of one Ideal in its purity is deficient in insight and indeed ridiculous. For the beauty of the Ideal consists just in this, that it is no purely general form or standard, but essentially individuality, and consequently possesses both particularity and character. It is simply owing to this that vitality is imported into works of sculpture, and it is this[174] which expands the one abstract beauty, in a totality of essentially definite creations. Taken as a whole, however, this aggregate is, if we regard its content, one with marked limits; and the reason is that a number of categories, which we are, for example, accustomed to employ in our Christian outlook, fall absolutely away in the case of the genuine Ideal of sculpture. The ethical points of view and virtues, for example, such as were brought together by the Middle Ages and our modern world in a synthetical nexus of duties which yields to some modification, moreover, in every epoch, has no meaning at all when applied to the ideal gods of sculpture; it is simply absent from such a circle altogether. Consequently we can as little expect to find here the presentation of sacrifice, of egotism overcome, of the conflict, against what is sensuous, of the victory of chastity and so forth, as that of incommutable fidelity, of the honour and honesty of either man or woman, or of the expression of religious meekness, subjection, and blessedness in God. All these virtues, qualities, and conditions repose in part on the breach between what is spiritual and what is corporeal; and in part they retire altogether beyond what is of the body within, the intimate shrine of the soul, or betray the individual personal life in its separation from its entirely concrete and explicit substance, as also in its struggle to find again mediation in the same. Moreover, the circle of these veritable gods of sculpture is no doubt a totality, but, as we already discovered in our consideration of the classical type of art, it is, when we examine the distinguishing differences of its notion, no stringently articulated and unified system.