(_γ_) The artistic treatment does not, however, stop at this more general kind of opposition, but, inasmuch as painting reposes on the principle of soul-expression and particularity, proceeds yet further in the direction of differentiation in its results. Both architecture and sculpture, it is true, assert differences of national type, and in particular we are made aware in sculpture of a closer individuality typical of certain schools and masters. In the art of painting this distinction and personal aspect in the modes of representation expands to an incalculable degree in proportion as the objects, which it may accept, are taken from a field without definable limitations. In this art to a pre-eminent extent the genius of particular peoples, provinces, epochs and individuals asserts its claims and affects not merely the choice of subjects and the spirit of their conception, but also the character of drawing, grouping, colouring, handling of the dry point no less than that of particular colours down to characteristics of personal style and wont. Inasmuch as the function of painting is so without restriction concerned with the ideal aspect and the details of its subject-matter, it follows of course that it gives us quite as little opportunity to make definite statements of universal validity as to adduce specific facts which can always without exception be accepted as true of it. We must, however, not rest satisfied with what I have already discussed in respect of the principle of the content, the material and the artistic treatment, but make a further effort, however much we leave on one side all that confronts us in its multifold variety, still to subject certain aspects, that most emphatically enlist our attention, to further examination. 2. PARTICULAR MODES OF THE DEFINITION OF PAINTING The different points of view, according to which we have to undertake this closer characterization, may be already anticipated from our previous discussion. They refer once more to the content, the material and the artistic treatment. _First_, as to _content_, we have no doubt found the content of the romantic type of art offer the most adequate subject-matter; we must, however, inquire further what specific portions we should select from the entire wealth within this type as pre-eminently adapted to the art of painting. _Secondly_, we have already made ourselves fairly cognisant with the _principle_ of the sensuous material. We have now to define more narrowly the forms, which may be expressed on the level surface by means of colouring, in so far as the human form and other facts of Nature have to be made visible in order that the ideality of Spirit may be thereby disclosed.