In so far, then, as the aspect of an individual _human_ state of soul-life is concerned in this universal condition we find that the unique Love, which blesses and discovers its heaven within it, tends to rise over all that is finite and the specific individuality of character, which lapses into a position of insignificance. Already we have observed that the divine ideals of sculpture pass into one another, always provided, however, that they are not wrested from the content and province of that original and immediate type of individuality; and yet it must be admitted that this individuality remains the essential form of the mode of presentment. In this later pure gleam of blessedness, however, particularity is on the contrary cancelled. Before God all men are equal, or rather piety makes them actually equal, so that the sole point of importance is the expression of love in the concentrated focus above depicted, and which has no further need of happiness, or this or that particular object. No doubt religious Love, too, requires definite individuals as a condition of its existence, which possess also, apart from this experience, other spheres of existence; for the reason, however, that this soul-possessed state of intimate life supplies the really ideal content, the expression and reality of such are not to be found in the isolated distinctions of character, its talents, conditions, and fortunes, but are rather lifted above the same. When consequently nowadays we hear people make a regard for distinctions in the soul-life of different persons a matter of first importance in education, and in that which is the essential requirement of each man individually, from which we deduce the fundamental thesis that every one will and indeed inevitably must act differently in a given case, such a position directly clashes with the fact of the love of religion, in which all such diversities of individual life fall into the background. Conversely, however, individual characterization now, precisely for the reason that it is the unessential, which refuses wholly to fuse with the spiritual realm of celestial Love, receives a more emphatic definition. In other words, agreeably to the romantic type of art, it is free, and is written in character all the more distinct in proportion as it refuses to accept as its supreme principle classical beauty, that is the entire transfusion of immediate vitality, and the particularity of finite existence, with a spiritual or religious content. In despite of this fact, however, there is no absolute reason that this individual characterization should impair this inward intensity of Love, which, as such on its own account, is not shackled to such features, but has become free, and constitutes independently the truly self-substantive Ideal of Spirit.