double purpose:—Either that Nature may be subjected merely to the purpose of rendering our sensuous existence more easy and agreeable,—whence arise the Mechanical Arts; or that it may be subjected to the higher spiritual wants of man, and have stamped upon it the majestic image of the Idea,—whence arises Fine Art. A State which has yet much to fear for its external existence, and requires to make great efforts in order to place even that in safety, will indeed, so soon as it attains the first glimpse of its true interest, study to promote in every possible way the Mechanical Arts, in the extended sense which we have given to them above; but since it does this merely with the view of having at command a larger surplus of the national power which it may then employ for the maintenance of its own security, it will apply this surplus of power only to that purpose, and will have little remaining for the systematic and general promotion of Fine Art, or of still higher purposes of Humanity. It is only after the State, even for the sake of its own self-preservation, has subjected Nature to the mechanical uses of its Citizens, and made these Citizens themselves, and all of them equally, its instruments in the highest possible degree;—after the whole empire of Culture has entered into such relations with that of Barbarism, and the particular States into which the former may be divided have entered into such relations with each other, that no one need any longer be anxious about his external security;—it is only after this has taken place, that the question arises,—To what should the surplus of national power, rendered superfluous by the mechanical elaboration of Nature, which surplus of power has hitherto been devoted to the security of the State, and stands entirely under the authority of the State, as all the Citizens do;—to what shall this surplus of power be applied?—and there can be no other answer given to
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