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however, “can be an intellectual intuition only, one could appeal to immediate experience,” the question would be: “How can this intuition be again made objective, i.e. how can it be asserted without doubt that it does not rest on a subjective deception, if there is not a universal objectivity in that intuition, which is recognized by all?” This intellectual principle in itself should thus be given in an experience so that men may be able to appeal to it. “The objectivity of intellectual intuition is art. The work of art alone reflects to me what is otherwise reflected through nothing - that absolute identical which has already separated itself in the ego itself.” The objectivity of identity and the knowledge of the same is art; in one and the same intuition the ego is here conscious of itself and unconscious.(13) This intellectual intuition which has become objective is objective sensuous intuition - but the Notion, the comprehended necessity, is a very different objectivity.

Thus a principle is presupposed both for the content of philosophy and for subjective philosophizing: on the one hand it is demanded that the attitude adopted should be one of intellectual intuition, and, on the other hand, this principle has to be authenticated, and this takes place in the work of art. This is the highest form of the objectification of reason, because in it sensuous conception is united with intellectuality, sensuous existence is merely the expression of spirituality. The highest objectivity, which the subject attains, the highest identity of subjective and objective, is that which Schelling terms the power of imagination. Art is thus comprehended as what is inmost and highest, that which produces the intellectual and real in one, and philosophizing is conceived as this genius of art. But art and power of imagination are not supreme. For the Idea, spirit, cannot be truly given expression to in the manner in which art expresses its Idea. This last is always a method pertaining to intuitive perception; and on account of this sensuous form of existence the work of art cannot correspond to the spirit. Thus because the point last arrived at is designated as the faculty of imagination, as art, even in the subject this is a subordinate point of view, and thus in itself this point is not the absolute identity of subjectivity and objectivity. In subjective thought, rational, speculative thought is thus indeed demanded, but if this appears false to you nothing further can be said than that you do not possess intellectual intuition. The proving of anything, the making it comprehensible, is thus abandoned; a correct apprehension of it is directly demanded, and the Idea is thus assertorically pre-established as principle. The Absolute is the absolute identity of subjective and objective, the absolute indifference of real and ideal, of form and essence, of universal and particular; in this identity of the two there is neither the one nor the other. But the unity is not abstract, empty, and dry; that would signify logical identity, classification according to something common to both, in which the difference remains all the while outside. The identity is concrete: it is subjectivity as well as objectivity; the two are present therein as abrogated and ideal. This identity may easily be shown in the ordinary conception: the conception, we may for example say, is subjective; it has, too, the determinate content of exclusion in reference to other conceptions; nevertheless, the conception is simple - it is one act, one unity.