Yet of the pictures, whose subject is the history or mythology of Judaism and Christianity, we must carefully distinguish those in which the peculiar, _i.e._, the ethical spirit of Christianity is revealed for perception, by the representation of men who are full of this spirit. These representations are in fact the highest and most admirable achievements of the art of painting; and only the greatest masters of this art succeeded in this, particularly Raphael and Correggio, and especially in their earlier pictures. Pictures of this kind are not properly to be classed as historical: for, as a rule, they represent no event, no action; but are merely groups of saints, with the Saviour himself, often still a child, with His mother, angels, &c. In their countenances, and especially in the eyes, we see the expression, the reflection, of the completest knowledge, that which is not directed to particular things, but has fully grasped the Ideas, and thus the whole nature of the world and life. And this knowledge in them, reacting upon the will, does not, like other knowledge, convey _motives_ to it, but on the contrary has become a _quieter_ of all will, from which proceeded the complete resignation, which is the innermost spirit of Christianity, as of the Indian philosophy; the surrender of all volition, conversion, the suppression of will, and with it of the whole inner being of this world, that is to say, salvation. Thus these masters of art, worthy of eternal praise, expressed perceptibly in their works the highest wisdom. And this is the summit of all art. It has followed the will in its adequate objectivity, the Ideas, through all its grades, in which it is affected and its nature unfolded in so many ways, first by causes, then by stimuli, and finally by motives. And now art ends with the representation of the free self-suppression of will, by means of the great peace which it gains from the perfect knowledge of its own nature.(56)