mechanical artist; but he seeks by an
apparent consideration for it to deceive the eye which takes this matter
under its protection. The political and educating artist follows a very
different course, while making man at once his material and his end. In
this case the aim or end meets in the material, and it is only because
the whole serves the parts that the parts adapt themselves to the end.
The political artist has to treat his material--man--with a very
different kind of respect than that shown by the artist of fine art to
his work. He must spare man's peculiarity and personality, not to
produce a defective effect on the senses, but objectively and out of
consideration for his inner being.

But the state is an organization which fashions itself through itself and
for itself, and for this reason it can only be realized when the parts
have been accorded to the idea of the whole. The state serves the
purpose of a representative, both to pure ideal and to objective
humanity, in the breast of its citizens, accordingly it will have to
observe the same relation to its citizens in which they are placed to it;
and it will only respect their subjective humanity in the same degree
that it is ennobled to an objective existence. If the internal man is
one with himself he will be able to rescue his peculiarity, even in the
greatest generalization of his conduct, and the state will only become
the exponent of his fine instinct, the clearer formula of his internal
legislation. But if the subjective man is in conflict with the
objective, and contradicts him in the character of a people, so that only
the oppression of the former can give victory to the latter, then the
state will take up the severe aspect of the law against the citizen, and
in order not to fall a sacrifice, it will have to crush under foot such a
hostile individuality without any compromise.

Now man can be opposed to himself in a twofold manner; either as a
savage, when his feelings rule over his principles; or as a barbarian,
when his principles destroy his feelings. The savage despises art, and
acknowledges nature as his despotic ruler; the barbarian laughs at
nature, and dishonors it, but he often proceeds in a more contemptible
way than the savage to be the slave of his senses. The cultivated man
makes of nature his friend, and honors its friendship, while only
bridling its caprice.

Consequently, when reason brings her moral unity into physical society,
she