  Art, we recall, is the sensuous expression of divine and human freedom. If it is to demonstrate that spirit is indeed free, it must show that spirit is free in relation to that which is itself unfree, spiritless and lifeless—that is, three-dimensional, inorganic matter, weighed down by gravity. Art must, therefore, be the transformation of such brute, heavy matter into the expression of spiritual freedom, or what Hegel calls “the forming of the inorganic” (VPK, 209). The art that gives heavy matter the explicit form of spiritual freedom—and so works stone and metal into the shape of a human being or a god—is sculpture. Architecture, by contrast, gives matter an abstract, inorganic form created by human understanding. It does not animate matter in the manner of sculpture but invests matter with strict regularity, symmetry and harmony (PKÄ, 155, 166). In so doing architecture turns matter not into the direct sensuous expression of spiritual freedom, but into an artificially and artfully shaped surrounding for the direct expression of spiritual freedom in sculpture. The art of architecture fulfills its purpose, therefore, when it creates classical temples to house statues of the gods (VPK, 221).