But, on the other hand, this type of Art,* like every other, needs an external vehicle of expression.

Now the spiritual has withdrawn into itself out of the external and its immediate oneness therewith.

For this reason, the sensuous externality of concrete form is accepted and represented, as in Symbolic art, as something transient and fugitive.

And the same measure is dealt to the subjective finite mind and will, even including the peculiarity or caprice of the individual, of character, action, etc., or of incident and plot.

The aspect of external existence is committed to contingency, and left at the mercy of freaks of imagination, whose caprice is no more likely to mirror what is given as it is given, than to throw the shapes of the outer world into chance medley, or distort them into grotesqueness.

For this external element no longer has its notion and significance, as in classical art, in its own sphere, and in its own medium.

It has come to find them in the feelings, the display of which is in themselves instead of being in the external and its form of reality, and which have the power to preserve or to regain their state of reconciliation with themselves, in every accident, in every unessential circumstance that takes independent shape, in all misfortune and grief, and even in crime.**