From this point we may now fix the transition from sculpture to another principle of artistic apprehension and presentment, which requires for its realization another sensuous material. In classical sculpture it was the objective and _substantive_ individuality in its human shape, which constituted the vital core, and the human form was placed thereby at such a lofty level, that it was in fact retained in its abstract simplicity as the beauty of form, and as such converted to the Divine image. Under such a one-sided aspect of content and representation man is not fully himself in his _concrete humanity._ The anthropomorphism of art remains in its incomplete state in ancient sculpture. For that which fails us here is humanity in its _objective universality_, a universality which we identify at the same time with the principle of _absolute personality_, quite as much as that aspect of it which in common parlance is called human, in other words the phase of _subjective singularity_, human weakness, contingency, caprice, immediate sense life, passion, and so forth, a phase or factor which must be taken up into that universality in order that the _entire individuality_, the subject of conscious life, that is, in its entire range, and in the infinite compass of its reality, may appear as the vital principle both of the mode of presentment and its content. In classical sculpture one of these phasal aspects, that is the human from the side of immediate Nature, is in part only brought before us in animals, quasi-animals, fauns and the like, without being reflected back again into the personal life of soul, and stated as a negation of that; and also in some measure this type of sculpture only accepts the factor of particularity, only directs its interest to external things in the _pleasing style_, in the countless sallies of delight and conceits, in which the antique plastic lives and moves. Owing to this we wholly fail to meet here the profundity and infinity which lies at the root of man's personal life, that inmost reconciliation of Spirit with the Absolute, that ideal union of humanity with the humanity of God. No doubt Christian sculpture is the instrument which makes visible the content which here enters the domain of art more consonant with the above disregarded principle. But it is precisely its modes of art's embodiment which expose to us the fact that sculpture is insufficient for such a content, that other modes of art will infallibly arise able to reach in very truth the mark which sculpture failed in its work to achieve. We may collectively unite these new arts under the title of the _romantic arts._ They are indeed the modes most adequate to express the romantic type of art. [Footnote 111: _Sein subjektives Fürsichseyn._ Subjective independence of material conditions. Self-consciousness.] [Footnote 112: _Rückkehr in sich._ Into itself, its own ideal world of conscious thought and emotion.]