 A new form of art will be needed to resolve these contradictions, and this is provided by romantic art. But the material for this form will not come from within art itself. While Greek art can be understood as simultaneously belonging to aesthetic and religious realms, romantic art results from a fission within the symbolic realm of what in the Phenomenology Hegel had treated as a single category, Art-Religion. The transition from classical art to romantic art represents both a liberation of art from religion and of religion from art and the sensuous. Thus Christianity, whose rituals centered around the myth of God becoming man in the person of Jesus, had avoided the type of reliance on the beautiful productions of art in the way that characterized Greek religions. The shift from classical to romantic art, then, represents a broader shift between a culture whose final authority was an aesthetic one and a culture in which this authority was handed over to religion, and thus represents a shift in the authoritativeness of different cognitive forms. This loss of ultimate authority is the meaning of Hegel’s often misunderstood thesis of the death of art.