(b) In so far, however, as we find in painting for its fundamental type, not as in sculpture the entirely perfected resolution of the spiritual idea and the bodily form in one content, but rather the predominant exposition of the self-absorbed ideality of soul, to that extent the spatial figure in extension is not a truly adequate medium of expression for the inward life of Spirit. Art therefore abandons the previous medium of configuration, and in the place of spatial forms employs the medium of tone in the limited duration of its sounds; tone in fact by its assertion of the material of Space under a purely negative relation secures for itself a finite existence nearer to ideality, and corresponds to that soul-life, which in accordance with its own inward experience conceives and grasps that life as emotion, and then expresses that content, as it enforces its claim in the unseen movement of heart and soul, in the procession of tones. The second art, therefore, which follows this principle of exposition is that of music.
(c) Thereby, however, music merely is placed at the opposite extreme, and, in contrast to the plastic arts, both in respect to its content and relatively to its sensuous material, and the mode of its expression, cleaves fast to the formless content of its pure ideality. It is, however, the function of art, in virtue of its essential notion, to disclose to the senses not merely the soul-life, but the manifestation and actuality of the same in its external reality. When, however, art has abandoned the process of veritably informing the real and consequently visible form of objective existence, and has applied its activity to the element itself of soul-life, the objective reality, to which it once more recurs, can no longer be the reality as such in itself, but one which is merely imagined and prefigured to the mind or sensitive soul. The presentment, moreover, as being the communication to Spirit of creative mind working in its own domain is compelled to use the sensuous material united to its disclosure simply as a mere means for such communication. It must consequently lower its denomination to that of a sign which of itself is without significance. It is at this point that poetry or the art of speech, confronts us, which now incorporates its art-productions in the medium of a speech elaborated to an instrument of artistic service, precisely as intelligence already in ordinary speech makes intelligible to spiritual life all that it carries in itself. And, moreover, for the reason that it is able thus to unfold the entire content of Spirit in its own medium, it is the universal art, which belongs indifferently to all the types of art, and is only excluded in that case where the spiritual life which is still unrevealed to itself in its highest form of content is merely able to make itself aware of its own dim presentiments in the form and configuration of that which is external and alien to itself.
CHAPTER I
THE ART OF PAINTING
The most adequate object of sculpture is the tranquil self-absorption of personality in its essential substance, the character whose spiritual individuality is in the fullest degree displayed on the face of its corporeal presentment, making the sensuous frame, which reveals this incorporation of spirit, adequate to such an embodiment of mind wholly in its aspects of external form. The sightless look has as yet failed to concentrate at one point the supreme focus of ideal life, the vital breath of soul, the heart of most intimate feeling, and is as yet without spiritual movement, without the deliberate distinction between a world without it and a life within. It is on account of this that the sculpture of the ancients leaves us in some degree unmoved. We either do not remain long before it, or our delay is rather due to a scientific investigation of the fine modifications of form and detail which it displays. We cannot blame mankind if they are unable to take the profound interest in fine works of sculpture which such works deserve. To know how to value them is a study in itself. At first glance we either experience no attraction, or are immediately conscious of the general character of the whole. To come to closer quarters we have first to discover what it is that continues to supply such an interest. An enjoyment, however, which is only the possible result of study, thought, learning, and a wide experience is not the immediate object of art. And, moreover, the essential demand we make that a character should develop, should pass into the field of action and affairs, and that the soul should thereby meet with divisions and-grow deeper, this, after all our journey in search of the delight which this study of the works of antique sculpture may bring to us, remains unsatisfied. For this reason we inevitably feel more at home in painting. In other words we are at once and for the first time conscious in it of the principle of our finite and yet essentially infinite spiritual substance, the life and breath of our own existence; we contemplate in its pictures the very spark which works and is active in ourselves. The god of sculpture remains for sense-perception an object simply; in painting, on the contrary, the Divine appears as itself essentially the living subject of spiritual life, which comes into direct relations with the community, and makes it possible for each individual thereof to place himself in spiritual communion and reconcilement with Him. The substantive character of such a Divinity is not, as in sculpture, an individual that persists in the inflexible bond of its own limitations[220], but is one which expands into and is differentiated within the community itself.
The same principle generally differentiates the individual from his own bodily frame and external environment to quite as considerable an extent as it brings the soul into mediated relation with the same. Within the compass of this subjective differentiation—regarded as the independent assertion of human individuality as opposed to God, Nature, and the inward and external life of other persons, regarded also conversely as the most intimate relation, the most secure communion of God with the community, and of individual men with God, the environment of Nature and the infinite variety of the wants, purposes, passions, and activities of human existence—falls the entire movement and vitality, which sculpture, both in respect to its content and its means of contributing expression, suffers to escape; and it adds an immeasurable wealth of new material and a novel breadth and variety of artistic treatment which hitherto was absent. Briefly, then, this principle of subjectivity is on the one hand the basis of division, on the other a principle of mediation and synthesis, so that painting unites in one and the same art what hitherto formed the subject-matter of two different arts, namely, the external environment, which architecture treated artistically, and the essentially spiritual form, which was elaborated by sculpture. Painting places its figures on the background of a Nature or an architectural environment, both of which are the products of its own invention in precisely the same sense, and is able to make this external material in both of these aspects by virtue of its emotional powers and soul a counterfeit within its ideal realm, in the degree that it understands how best to place it in relation and harmony with the spirit of the figures that live and move therein.
Such is the principle of the new advance that painting contributes to the representative powers of art.
If we inquire now the course which the more detailed examination of our subject necessitates the following division will serve us.