[Footnote 2: By the words _die innere Produktion der Kunst_ is meant apparently "the creative activity of art-production as ideally conceived in a series of general world-impressions (_Weltanschauungen_)." The main contrast between the theoretic apprehension of such an evolution of art as a series, held in its broad generic outlines by mind, and its practical realization as differentiated in the _actual_ products of different arts is sufficiently clear. The difficulty remains, however, as to how far Hegel regarded these _Weltanschauungen_ in their universality to have themselves an _objective_ significance no less than a _subjective_ one--how far, in other words, are they merely abstract concepts of the observer, the schemata of scientific generalization, or do actually unfold an objective, if ideal process--how far is the thought one with the revelation of the Absolute itself. It is, of course, a difficulty not unknown to the student of Hegel in other directions. At least, as translator, I must content myself, as an excuse for obscurity in this and other passages, with drawing attention (_a_) To the main contrast which is quite clear, and (_b_) To the fundamental difficulty which remains. As a rule the word _Weltanschauung_ is generally used rather in the sense of a world-outlook as from the point of view of an observer. In this passage, and still more obviously a little lower down, the sense appears to be rather world-presentment or manifestation--and the emphasis certainly on the objective aspect. Thus the Ideal of Beauty is defined as "the collective totality of its _Weltanschauungen._" How far within such, which have previously been called exclusively _ideal_ (_innere_) can be incorporated the positive concrete embodiments of definite works of art is for myself the difficulty, which I do not profess myself to be able to solve. I am in fact not entirely clear as to the entire meaning of Hegel myself. The mere statement that the one is made objective by the other does not appear to me to remove the difficulty; for, to mention no other objection, a particular work of art is not exclusively either concrete or objective in the sense that an ideal process is so, or an Ideal which combines the ideal stages or moments in such a process.] [Footnote 3: _Welche sich objectivirt._ See note above.] [Footnote 4: The present, that is, which is objective to sense.] [Footnote 5: _So löst sich das Ideal in seine Momente auf._ According to this it would appear that the process is wholly identified with the system of the particular arts. But the universal world-presentments are surely equally a process or at least an abstract of such a process. And this is in fact affirmed lower down.] [Footnote 6: A favourite metaphor of Hegel. The idea is that the metal is all one infusion producing a result that is like the appearance of Athene from the brow of Zeus.] [Footnote 7: _Der Subjektivität._ The mind of the artist.]