between spiritual meaning and sensuous
expression develops, therefore, into greater intimacy than was possible
in the case of architecture and sculpture. This intimate unity, however,
is due wholly to the subjective side.

Leaving, then, the symbolic spirit of architecture and the classical
ideal of sculpture behind, these new arts in which form and content are
raised to an ideal level borrow their type from the _romantic_ form of
art, whose mode of expression they are most eminently fitted to voice.
They form, however, a totality of arts, because the romantic type is the
most concrete in itself.

PAINTING

The first art in this totality, which is akin to sculpture, is painting.
The material which it uses for its content and for the sensuous
expression of that content is visibility as such, in so far as it is
individualized, viz., specified as color. To be sure, the media employed
in architecture and sculpture are also visible and colored, but they are
not, as in painting, visibility as such, not the simple light which
contrasts itself with darkness and in combination with it becomes color.
This visibility as a subjective and ideal attribute, requires neither,
like architecture, the abstract mechanical form of mass which we find in
heavy matter, nor, like sculpture, the three dimensions of sensuous
space, even though in concentrated and organic plasticity, but the
visibility which appertains to painting has its differences on a more
ideal level, in the particular kinds of color; and thus painting frees
art from the sensuous completeness in space peculiar to material things
only, by confining itself to a plane surface.

On the other hand, the content also gains in varied particularization.
Whatever can find room in the human heart, as emotion, idea, and
purpose, whatever it is able to frame into a deed, all this variety of
material can constitute the many-colored content of painting. The whole
range of particular existence, from the highest aspirations of the mind
down to the most isolated objects of nature, can obtain a place in this
art. For even finite nature, in its particular scenes and aspects, can
here appear, if only some allusion to a spiritual element makes it akin
to thought and feeling.

MUSIC

The second art in which the romantic form finds realization, on still a
higher level than in painting, is music. Its material, though still
sensuous, advances to a deeper subjectivity and greater specificati