In the 1790s, Friedrich Schiller and Friedrich Schlegel had given aesthetics an historical dimension, distinguishing the forms of ancient and modern art in terms of the contrasts naïve–sentimental and classical–romantic respectively. Hegel adopts Schlegel’s terminology to distinguish as classical the art that thrived in the Greek and Roman worlds from the romantic art of post-classical times. Again, the romantic or modern here will be characterized by the depth of a form of individual subjective consciousness that is largely missing in antiquity. But those in Greek antiquity, where psychological determinations were closer to anthropological ones, had lived with a comfortable felt unity between spirit and body and between the individual and society. A characteristic of the Greeks was their Heimatlichkeit—their collective feeling of being at home in the world as they were each at home in their bodies. Modern subjectivity is thereby purchased as the expense of a sense of abstraction and alienation from the actual world and from the self—a consequence of the way the modern subject has become related to his or her body in a different way.