Art, by enabling its content to attain a realized existence under a definite form, becomes a _particular_ art. We may therefore now for the first time refer to it as an actual art and find therein the _real_ beginning of art. With this particularity, however, in so far as it purports to bring before us the objectivity of the Idea of the beautiful and art, we have presented to us at the same time in its notional significance a _totality_ of what is particular. For this reason when we now, in the sphere of the specific arts, begin our examination of the same with the art of building this must not merely be accepted in the sense that architecture asserts itself as the art which, by virtue of its notional definition, is first presented to us as such an object of inquiry, but we may equally accept as a result, that it is also in relation to its _existence_ the art first to be considered. In supplying, however, an answer to the question, what the mode of origin was, which fine art, relatively to its notion and realized form, has received, we must exclude the experience of history no less than reflections, conjectures, and ordinary conceptions, which merely have reference to objective history, and are so readily and in such variety propounded. In other words, men are ordinarily actuated by an impulse, to bring before their mental vision anything in its original mode of appearance for the reason that the beginning is the simplest mode, under which the fact asserts itself. And connected with this impulse we have present behind it the covert conviction that the simple mode of appearance informs us of the fact in its notional significance and real origin, and the further amplification of such a beginning to the actual point in the process which only really concerns us is further with a like readiness conceived under the trivial mode of thought, that a process so understood has _gradually_ brought art forward to the crucial stage above indicated. A beginning, however, of this simplicity is, if we look at its content, something which, taken by itself, is so unimportant, that for philosophical thought it can only appear as wholly accidental, albeit it is for the ordinary consciousness only just in such a way that the origin can be readily grasped. For example, we have the story, as an explanation of the origin of the art of painting, told us of a maiden who followed the dim outline of the shadow of her sleeping lover. In the same way we have sometimes a cave and sometimes a hollow tree adduced as the point of departure in the art of building. Beginnings of this kind are so intelligible in themselves that further comment on the fact appears unnecessary[30]. In particular the Greeks invented many charming tales to explain the origins not merely of fine art, but also ethical institutions and other conditions of life, all of which satisfied the primary need to make such beginnings visible to the _imagination._ Such