In the representations which were depicted upon all this varied material the Greek artists adapted as the basis of their work no situations which were poetically conceived by themselves, but selected their subject-matter invariably, if we only except examples of Bacchanals and dances, from myths about the gods and sagas. Even in the case of urns and representations of events relative to deceased persons they had definite facts before them, which were associated with the individual, whom it was thought right to honour by reason of his decease. The direct allegory, in fact, does not belong to the genuine Ideal, but only becomes perspicuous in art's later development. 3. THE HISTORICAL EVOLUTION OF SCULPTURE We have hitherto regarded sculpture as the most adequate expression of the classical Ideal. The Ideal, however, has not merely an intrinsic forward development on its own account, by virtue of which it approximates to that which it is in virtue of its notion, and by doing so equally begins a forward movement beyond this absolute harmony with its own essential nature. Quite apart from this, as we have already seen in the second main division of this work during our review of the particular types of art as a process, it contains, putting on one side its mode of presentation under the symbolical type, a certain aspect presupposed, which it is bound to pass beyond in order generally to establish itself as Ideal, and moreover a further type of art, that is the romantic, from which it will once more pass away. Both types of art, the symbolical no less than the romantic, likewise seize upon the human figure as an element of their presentment, whose spatial outlines they adhere to, and consequently set forth as sculpture sets them forth. We have, therefore, when it is a question of drawing attention to the historical-development, not only to speak of Greek and Roman sculpture, but also Oriental and Christian. It was, however, the Egyptian people pre-eminently among all, among whom the _symbolical_ type sums up the fundamental character of their art-production, who first began to associate with their deities the human figure as it emerges from a mode of existence that is purely natural, and for this reason it is mainly among them that we meet too with sculpture, inasmuch as they gave as a rule to their general outlook an artistic existence in that which was simply material. The sculpture of Christianity is of wider range and richer development. We do not merely refer here to its uniquely romantic character in the Middle Ages, but also to that further elaboration, in which we find it made an effort once again to approach more closely the principle of the classical Ideal, and establish that type most specifically consonant with sculpture.