And just as sculpture in this respect proved itself to be pre-eminently fitted to give vitality to the content and mode of expression of the _classical_ type of art in its products, while architecture, despite all the service it rendered in the content which belonged to it, was unable in its manner of presentation to pass beyond the fundamental mode of a purely _symbolical_ significance, so, too, _thirdly_, with the art of painting, we enter the province of the _romantic._ No doubt we find still in painting that the _external_ form is the means by virtue of which the ideal presence is revealed. In this case, however, this ideality is actually the ideal and particular _subjectivity_, is, in short, the soul-life returning upon itself from its corporeal existence, is the individual passion and emotion of character and heart, which are no longer exclusively delivered in the external form, but mirror in the same the very ideal substance and activity of Spirit in the domain of its own conditions, aims, and actions. On account of this intimate ideality of its content the art of painting is unable to rest satisfied with a material that, in one aspect of it, is in its shape merely solid matter, and in another as such crude form is merely tangible and unparticularized, but is forced to select exclusively the show and _colour semblance_ of the same as its sensuous means of expression. The colour, however, is only present in order to make still apparent spatial forms and shapes as we find them in the actuality of Life, even in the case where we see the art developed into all the magic of colouring, in which the objective fact at the same time already begins to vanish away, and the effect is produced by what appears to be no longer anything material at all. However much, therefore, painting is evolved in the direction of a more ideal independence of a kind of appearance which is no longer attached to shape as such, but is permitted to pass spontaneously into its own proper element, that is, into the play of visibility and reflection, into all the mysteries of chiaroscuro, yet this magic of colour is still throughout of a spatial mode, it is an appearance growing out of juxtaposition on a flat surface, and consequently a _consubsistent_ one.