The _second_ art is _sculpture._ Both for its principle and content it possesses spiritual individuality under the mode of the classic Ideal in the sense, namely, that the ideal and spiritual finds its expression in the corporeal appearance pertinent to spiritual life, which it is the function here of Art to present in existent artistic actuality. It consequently still accepts for its material gross matter in its spatial extension, without, however, shaping the same in conformity to rule merely in respect to its gravity and its natural conditions according to the forms of the organic or inorganic, or in relation to its visibility in bringing it down to, and in all essential respects particularizing it in, a simple repetition of the external appearance. The _form_ which is here, however, determined by virtue of the content itself is the actual life of Spirit, human form, and its objective organism permeated with Spirit's own breath, whose function it is to embody in adequate shape the self-subsistence of the Divine in its supreme repose and unperturbed greatness, unaffected by the divisions and limitations of human affairs, their conflicts and endurances. _Thirdly_, we have to render intelligible in one final whole those arts whose province it is to give form to the ideal content of the individual soul-life. The art of _painting_ marks the _beginning_ of this final totality. It converts the external form itself entirely into an expression of what is ideal[23], which within the limits of the environing world not merely reproduces the ideal self-containedness of the Absolute, but also brings to the vision the same as essentially a personal possession[24] in its spiritual existence, volition, feeling, action, in its activity and relation to another, and consequently also in its sufferings, pain, death, in the entire series of passions and satisfaction. Its object is for this reason no longer _God_ simply, that is, as object of the human consciousness, but this consciousness itself, God, that is, either in His reality present in the action and suffering of individual life, or as spirit of the community, as the spiritual related through feeling to itself, soul-life in its resignation, its sacrifice of, or joy and blessedness in, life and action within the limits of the natural world. As a means to the presentation of this _content_ the art of painting is bound to utilize the external phenomenon in respect to its form, not merely the human organism, but also Nature in its simplicity in so far as the same suffers what is of spirit to shine through with clarity. It is, however, unable to utilize as material physical matter and its spatial existence just as it is; it is compelled, in working it up into its forms, essentially to idealize the same. The first step by means of which the sensuous material is raised in this respect to confront mind[25], consists, on the one hand, in the uplifting of the actual