In classical sculpture one of these phasal aspects, that is the human from the side of immediate Nature, is in part only brought before us in animals, quasi-animals, fauns and the like, without being reflected back again into the personal life of soul, and stated as a negation of that; and also in some measure this type of sculpture only accepts the factor of particularity, only directs its interest to external things in the _pleasing style_, in the countless sallies of delight and conceits, in which the antique plastic lives and moves. Owing to this we wholly fail to meet here the profundity and infinity which lies at the root of man's personal life, that inmost reconciliation of Spirit with the Absolute, that ideal union of humanity with the humanity of God. No doubt Christian sculpture is the instrument which makes visible the content which here enters the domain of art more consonant with the above disregarded principle. But it is precisely its modes of art's embodiment which expose to us the fact that sculpture is insufficient for such a content, that other modes of art will infallibly arise able to reach in very truth the mark which sculpture failed in its work to achieve. We may collectively unite these new arts under the title of the _romantic arts._ They are indeed the modes most adequate to express the romantic type of art.
[Footnote 111: _Sein subjektives Fürsichseyn._ Subjective independence of material conditions. Self-consciousness.]
[Footnote 112: _Rückkehr in sich._ Into itself, its own ideal world of conscious thought and emotion.]
[Footnote 113: _In seine innerliche Subjektivität._ That is, what is essentially the world of soul. Spirit here stands for mind and _Gemüth_ or emotional life.]
[Footnote 114: _Ein Sichzeichen des Geistes_, _i.e._, are signs of itself which mind evolves in a mode of externality.]
[Footnote 115: Here called generically _Baukunst._]
[Footnote 116: _Die plastische Deutlichkeit._]
[Footnote 117: _Das subjektive Innere, i.e._, spiritual experience of a personality.]
[Footnote 118: That is in comparison with the fully independent arts.]
[Footnote 119: That is to say it must be a distinct object of the senses.]
[Footnote 120: _In sich materiell particularisirt._ We see Hegel's false notions of the theory of colour influencing his expression. It is really false to say that sculpture has nothing to do with colour. Light and shadow at least are necessary and colour is implied.]