§ 45. The great problem of historical painting and sculpture is to express directly and for perception the Idea in which the will reaches the highest grade of its objectification. The objective side of the pleasure afforded by the beautiful is here always predominant, and the subjective side has retired into the background. It is further to be observed that at the next grade below this, animal painting, the characteristic is entirely one with the beautiful; the most characteristic lion, wolf, horse, sheep, or ox, was always the most beautiful also. The reason of this is that animals have only the character of their species, no individual character. In the representation of men the character of the species is separated from that of the individual; the former is now called beauty (entirely in the objective sense), but the latter retains the name, character, or expression, and the new difficulty arises of representing both, at once and completely, in the same individual.
Human beauty is an objective expression, which means the fullest objectification of will at the highest grade at which it is knowable, the Idea of man in general, completely expressed in the sensible form. But however much the objective side of the beautiful appears here, the subjective side still always accompanies it. And just because no object transports us so quickly into pure æsthetic contemplation, as the most beautiful human countenance and form, at the sight of which we are instantly filled with unspeakable satisfaction, and raised above ourselves and all that troubles us; this is only possible because this most distinct and purest knowledge of will raises us most easily and quickly to the state of pure knowing, in which our personality, our will with its constant pain, disappears, so long as the pure æsthetic pleasure lasts. Therefore it is that Goethe says: “No evil can touch him who looks on human beauty; he feels himself at one with himself and with the world.” That a beautiful human form is produced by nature must be explained in this way. At this its highest grade the will objectifies itself in an individual; and therefore through circumstances and its own power it completely overcomes all the hindrances and opposition which the phenomena of the lower grades present to it. Such are the forces of nature, from which the will must always first extort and win back the matter that belongs to all its manifestations. Further, the phenomenon of will at its higher grades always has multiplicity in its form. Even the tree is only a systematic aggregate of innumerably repeated sprouting fibres. This combination assumes greater complexity in higher forms, and the human body is an exceedingly complex system of different parts, each of which has a peculiar life of its own, vita propria, subordinate to the whole. Now that all these parts are in the proper fashion subordinate to the whole, and co-ordinate to each other, that they all work together harmoniously for the expression of the whole, nothing superfluous, nothing restricted; all these are the rare conditions, whose result is beauty, the completely expressed character of the species. So is it in nature. But how in art? One would suppose that art achieved the beautiful by imitating nature. But how is the artist to recognise the perfect work which is to be imitated, and distinguish it from the failures, if he does not anticipate the beautiful before experience? And besides this, has nature ever produced a human being perfectly beautiful in all his parts? It has accordingly been thought that the artist must seek out the beautiful parts, distributed among a number of different human beings, and out of them construct a beautiful whole; a perverse and foolish opinion. For it will be asked, how is he to know that just these forms and not others are beautiful? We also see what kind of success attended the efforts of the old German painters to achieve the beautiful by imitating nature. Observe their naked figures. No knowledge of the beautiful is possible purely a posteriori, and from mere experience; it is always, at least in part, a priori, although quite different in kind, from the forms of the principle of sufficient reason, of which we are conscious a priori. These concern the universal form of phenomena as such, as it constitutes the possibility of knowledge in general, the universal how of all phenomena, and from this knowledge proceed mathematics and pure natural science. But this other kind of knowledge a priori, which makes it possible to express the beautiful, concerns, not the form but the content of phenomena, not the how but the what of the phenomenon. That we all recognise human beauty when we see it, but that in the true artist this takes place with such clearness that he shows it as he has never seen it, and surpasses nature in his representation; this is only possible because we ourselves are the will whose adequate objectification at its highest grade is here to be judged and discovered. Thus alone have we in fact an anticipation of that which nature (which is just the will that constitutes our own being) strives to express. And in the true genius this anticipation is accompanied by so great a degree of intelligence that he recognises the Idea in the particular thing, and thus, as it were, understands the half-uttered speech of nature, and articulates clearly what she only stammered forth. He expresses in the hard marble that beauty of form which in a thousand attempts she failed to produce, he presents it to nature, saying, as it were, to her, “That is what you wanted to say!” And whoever is able to judge replies, “Yes, that is it.” Only in this way was it possible for the genius of the Greeks to find the type of human beauty and establish it as a canon for the school of sculpture; and only by virtue of such an anticipation is it possible for all of us to recognise beauty, when it has actually been achieved by nature in the particular case. This anticipation is the Ideal. It is the Idea so far as it is known a priori, at least half, and it becomes practical for art, because it corresponds to and completes what is given a posteriori through nature. The possibility of such an anticipation of the beautiful a priori in the artist, and of its recognition a posteriori by the critic, lies in the fact that the artist and the critic are themselves the “in-itself” of nature, the will which objectifies itself. For, as Empedocles said, like can only be known by like: only nature can understand itself: only nature can fathom itself: but only spirit also can understand spirit.54
The opinion, which is absurd, although expressed by the Socrates of Xenophon (Stobæi Floril, vol. ii. p. 384) that the Greeks discovered the established ideal of human beauty empirically, by collecting particular beautiful parts, uncovering and noting here a knee, there an arm, has an exact parallel in the art of poetry. The view is entertained, that Shakespeare, for example, observed, and then gave forth from his own experience of life, the innumerable variety of the characters in his dramas, so true, so sustained, so profoundly worked out. The impossibility and absurdity of such an assumption need not be dwelt upon. It is obvious that the man of genius produces the works of poetic art by means of an anticipation of what is characteristic, just as he produces the works of plastic and pictorial art by means of a prophetic anticipation of the beautiful; yet both require experience as a pattern or model, for thus alone can that which is dimly known a priori be called into clear consciousness, and an intelligent representation of it becomes possible.
Human beauty was explained above as the fullest objectification of will at the highest grade at which it is knowable. It expresses itself through the form; and this lies in space alone, and has no necessary connection