of countenance, the most momentary gleams of colour apparent in such motion, and places such before us solely in virtue of its interest in the animation of such phenomena which without it would vanish. For especially it is the play of the colouring, not treated merely as flat tint, but in its lights and shadows, and in the prominence or subordination of the objects painted which is the reason that the representation appears lifelike, a fact which we are accustomed to observe in works of art less than such an aspect deserves, bringing as it does art first clearly to our minds. And, moreover, the artist preferably accepts in depicting these natural relations the effort of following the least detail, and making his work concrete, definite and stamped with individuality, endeavouring as he does to secure for his subject-matter the individuality which phenomenal life itself supplies in its most momentary flashes; and yet withal does not so much seek for such a detail merely as imitated closely to strike our senses with its directness, but rather to furnish a definite image to the imagination in which at the same time the ideality of the entire composition remains active. (_γγ_) The more insignificant the objects are, in comparison with the material of religion, which this particular phase of painting accepts for its content, to that very extent it is just this quality of _artistic_ creation, the manner of observation, conception, elaboration, the vitality communicated by the artist to his work by all his individual faculties, in short the soul and living enthusiasm of his execution, which constitute a prominent aspect of its interest, and are part of its content. That which the subject treated is under his workmanship must, however, substantially remain what it is in fact and is capable of being. We believe, indeed, that we look upon something different, and novel, because in actual life we do not pay the same detailed attention to similar situations, and their manner of colouring. Looked at on the reverse side no doubt we have something, too, that is new added to such ordinary subjects, namely, just this very enthusiasm, artistic insight and spirit, the soul, in which the artist handles them, adapts them to his uses, and by doing so infuses the enthusiasm of his activity like the breath of a new life throughout all his work[280]. Such, then, are the essential points of view, which it was necessary to discuss in regard to the content of painting. (_b_) The _second_ aspect which we have next in order to examine is connected with the more particular modes of definition, to which the sensuous material, in so far as it has to accept in itself a given content, has to accommodate itself.