And it is precisely this which constitutes the breach between signification and determinate being, which creates the absence of figurative expression in the artistic results of the Egyptian people. Their ideality or spiritual sense is still so imbruted, that it has no imperative desire to possess the precision bound up in a true and vital representation carried through with detailed accuracy, to which the onlooker has nothing to add, but may simply surrender himself to the attitude of reception and translation, because everything is already a gift of the artist. We must have a more lofty feeling of the individual's self-respect aroused than the Egyptians possessed, before we cease to be content with the indefinite and superficial features of art, and make valid in its products a claim to reason, science, motion, expression, soul, and beauty. (_b_) We find this artistic self-consciousness, so far as sculpture is concerned, first wholly alive among the Greeks. By its presence all the defects of the Egyptian phase of art vanish. Yet in this further development we do not have to make a wide leap from the imperfections of a type of sculpture still symbolical to the perfected result of the classical Ideal. Rather the Ideal has, in its own distinctive province--I have noticed this more than once--although lifted to a higher range, to remove the defects whereby in the first instance its onward path of perfection is obstructed. (_α_) I will here very briefly refer to _Aeginetan_ and ancient _Etruscan_ works of art as examples of such beginnings within the sphere itself of classical art. Both these stages, or rather styles, already pass beyond that point of view, which is satisfied, as was the case with Egypt, in repeating forms, we will not say absolutely opposed to Nature, but at least forms that are lifeless, precisely as they have been received from others, and is further content to place before the imagination a figure, from which the same can abstract its own religious content and recover the same for memory, without, however, attempting to work it out under a mode, by virtue of which the work is made apparent as the individual conception and vitality of the artist himself.