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By G. W. F. Hegel

This can be the second one of 2 volumes of the one English variation of Hegel's Aesthetics, the paintings within which he offers complete expression to his seminal idea of paintings. The giant advent is his most sensible exposition of his normal philosophy of paintings. partly I he considers the final nature of paintings as a non secular event, distinguishes the wonderful thing about paintings and the great thing about nature, and examines inventive genius and originality. half II surveys the background of paintings from the traditional global via to the top of the eighteenth century, probing the that means and value of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, tune, and literature; a wealthy array of examples makes brilliant his exposition of his idea.

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Extra resources for Hegel's Aesthetics: Lectures on Fine Art, Volume 2

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Thus the classical temples have no horizontal roof, but roof surfaces meeting at an obtuse angle, and the termination of the building in this way is in conformity with beauty. For horizontal roofs do not give the impression of a completed whole, for a horizontal surface at the top can always carry something else, whereas this is not possible for the line in which sloping roof-sides meet. , in the grouping of its figures. e. walls and partitions. Columns are indeed load-carrying and they do form a boundary, but they do not enclose anything; on the con­ trary, they are the precise opposite of an interior closed on all sides by walls.

They were com­ monly covered with bas-reliefs as a decoration, while on the architrave under the triglyphs, and above on the under-surface of the cornice, six small conical bodies, the drops [guttae-Vitruvius, iv. 3], served as ornaments. I Although Vitruvius discourses on Doric columns in iv. I (seven diameters) and especially in iv. 3, this addition does not appear to be there. CLASSICAL ARCHITECTURE 679 ({3) While the Doric style already develops into a craracter of pleasing solidity, Ionic architecture, though still simple, rises to what is typically slender, graceful, and elegant.

For this reason I will confine myself here to citing the principal characteristic marks of the columnar Orders. The most familiar Orders are the Doric, Ionian, and Corinthian. Neither earlier nor later was anything discovered more archi­ tecturally beautiful or appropriate to its purpose. For the Tuscan Order, or, according to Hirt (op. , i. 251), early Greek archi­ tecture also, belongs in virtue of its unadorned poverty to the originally simple building in wood, but not to architecture as a fine art.

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