This relation between the two arts, however, extends only to the outward form. In their inner nature they are entirely different. In essential qualities, Schopenhauer maintains, architecture is the most limited and the weakest of all the arts, whereas music is the most far-reaching, and possesses the deepest significance. _Painting and Sculpture_.--Filling an intermediate position between architecture and music come painting and sculpture. These arts represent more complex grades of the will than architecture, and therefore convey the truth of life with deeper insight. They too are concerned with the Ideas, and symbolise the inner reality of outward things and events. Lowest in the scale of the various kinds of painting come the painting of landscape and of still life, in which the subjective side of æsthetic pleasure is predominant. Our satisfaction consists less in the vision and comprehension of the Ideas than in the state of mind aroused. We receive a reflected sense of the deep spiritual peace and absolute silence of the will, which are necessary in order to enter so completely into the character of these lifeless objects. It would be impossible to bring the modern art of landscape painting, with its revolt against a purely objective representation of nature, into line with this analysis of Schopenhauer's. Next in the scale comes the painting and sculpture of animals, and then follows the plastic representation of the human form. The artist expresses in marble or paint that beauty of form which nature has failed to complete, and which has to be disentangled from the {73} obscuring cloud of trivial and accidental details. In virtue of this anticipation through art, it is possible for us to recognise beauty when nature by a rare chance does achieve a masterpiece. Human beauty is the fullest objectification of the will at the highest grade which is known. It is expressed through form. In sculpture, beauty and grace are the principal qualities. The special character of the mind, represented by expression, is the peculiar sphere of painting. Historical painting aims at beauty, grace, and character. The inward significance of an action, which is the depth of insight into the Idea which it reveals, must be brought to light. Only the inward significance concerns art, the outward belongs to history. The countless scenes and events which make up the life of men are important enough to be the object of art, for by their rich variety they unfold the many-sided Idea of humanity. No event of human life is excluded from painting. The painters of the Dutch school, for example, are great artists, not only in virtue of their technical skill, but because they have seized the inner significance of the things and actions they have depicted. They have real depth of insight into reality. What is peculiarly significant is not the individual, nor the particular event, but that which is universal in the individual.