It is quite true that a work of art is not entirely the imaginative concept in its universal aspect, but rather the determinate form of its envisagement. It is for all that bound, emanating as it does from the creative medium and operations of mind, and despite the living resemblance to real things we may find upon it, to permeate the whole with this universal quality. And in this we have that higher ideality of the poetical product as contrasted with the purely formal ideality of the art of production. From this point of view it is the task of a work of art to grasp the object in its universal relations, and in the envisagement it presents to let fall everything which stands in a wholly external or indifferent relation to the content. An artist for this reason will refuse to accept all forms and means of expression offered him by the external world, on the mere ground that he finds them there. His main effort will be, if at least his aim be a real poetical creation, to secure that which will appropriately work in with his own imaginative conception; and, if he looks to Nature for assistance in supplying him with details, or, generally, as material to translate into his work, he will utilize such, not because he finds them so in Nature, but because they fall in their _right_ place as a part of his composition and are rightly made for him. This "right" of the artist is a higher one than the mere right of immediate _fact._