(_αα_) Our meaning is this. In the art of building the content which should be made apparent in architectonic forms, does not, as is the case in works of sculpture and painting, wholly enter into the configuration, but remains distinct from it as an external environment; so, too, in music, under its aspect of the most specifically romantic art, the classical identity of ideality and its external existence receives its resolution in a similar, if converse, way to that in which architecture, as the symbolical type of presentation, was not as yet wholly able to secure such a unity. For this ideality of Spirit proceeds from what is purely the concentration of soul-life, to ideas and images and the forms of such, as elaborated by the imagination, whereas the art of music is throughout more occupied in expressing merely the element of feeling and furthermore surrounds the independently expressed ideas of the mind with the melodic chime of emotions, just as architecture in its province places around the statues of the god, no doubt in an unyielding way, the reasonable forms of its columns, walls, and entablatures[389]. (_ββ_) In this way tone and its formative combinations is for the first time a medium _created_ by art and entirely artistic expression of a wholly different type from that we find in painting and sculpture acting through the material of the human body and its pose and physiognomy. In this respect, too, music may be more nearly compared with architecture, which does not accept its forms from what is actually presented, but as the creation of human invention, in order to inform them, partly according to the laws of gravity, and in part according to the rules of symmetry and harmonious coordination. Music does the same thing in its own sphere, in so far as it from one point of view follows the harmonious laws of tone which depend on quantitative relations independently of the expression of emotion, and in another aspect of it, in the recurrence of time and rhythm no less than in the further development of the tones themselves, in many respects is subject to the forms of regularity and symmetry. Consequently we find operative in music not merely the profoundest ideality and soul, but the most rigorous, rationality. It unites, in fact, two extremes, which readily lend themselves to emphatic contrast in their independent self-assertion. In this aspect of independence music more particularly assumes an architectonic character when we find in it a coherent temple of harmony of its own creatively composed and co-ordinated according to the laws of music, and released from the direct expression of soul-life[390].