Volume 1 — INDEX
Charles Francis Atkinson translation
Prepared by David Μ. Matteson
Aachen Minster, and style, 200
Abaca, Evaristo F. dall’, sonatas, 283
Abel, Niels H., mathematic problem, 85
Absolutism, contemporary periods, table iii
Abyssinia, cult-buildings, 209
Academy, contemporaries, table i
Acanthus motive, history, 215
Acheloüs, as god, 403
Achilles, archetype, 203, 402
Acre, battle, 150
Acropolis, contemporaries, table ii. See also Parthenon
Act, and portrait, 262, 266, 270
Action, in Western morale, 342
Actium, battle, 381
Activity, as Western trait, 315, 320; as quality of Socialism, 362-364
Actuality, as test of philosophy, 41; significance, 164
Adam de la Hale. See La Hale
Addison, Joseph, type, 254
Ægina temple, sculpture, 226, 244
Æschines, portrait statue, 270
Æschylus, tragic form and method, 129, 320, 321; and architecture, 206; and motherhood, 268; and deity, 313; morale, 355
Æsthetics, and genius in art, 128
Æther, contradictory theories, 418
Agamemnon, contemporaries, table iii
Aggregates, theory, 426
Aglaure, cult, 406
Ahmes, arithmetic, 58
Ahriman, Persian Devil, 312
Aim, and direction, 361; nebulousness, 363
Albani, Francesco, linear perspective, 240; colour, 246
Albani villa, garden, 240
Albert of Saxony, Occamist, 381
Alberti, Leone B., gardening, 240
Alcamenes, contemporary mathematic, 78; period, 284
Alchemy, as symbol, 248; as Arabian physics, 382, 383; process of transmutation, 382n.; and substance, 383; and mechanical necessity, 393
Alcibiades, and Napoleon, 4; and Classical morale, 351; condemnation, 411
Alcman, music, 223
Alembert, Jean B. le R. d’, mathematic, 66, 78; and time, 126; mechanics and deism, 412
Alexander the Great, analogies, 4; and Dionysus legend, 8; romantic, 38; and economic organization, 138; expedition as episode, 147; himself as epoch, 149; as conqueror, 336; morale, 349; as paradox, 363; deification, 405; contemporaries, table iii
Alexander I of Russia, and Napoleon, 150
Alexandria, as a cultural left-over, 33, 73n., 79; contemporaries, 112; collections of University, 136n.; as irreligious, 358
Alfarabi, and extension, 178; and dualism, 306; contemporaries, table i
Algebra, defined, significance of letter-notation, 71; Diophantus and Arabian Culture, 71-73; Western liberation, 86; contemporaries, table i. See also Mathematics
Alhambra, courtyard, 235
Alien, and “proper”, 53
Alkabi, and extension, 178
Alkarchi, contemporaries, table i
Al-Khwarizmi, mathematic, 72; contemporaries, table i
Alkindi, and dualism, 307; contemporaries, table i
Almighty, philosophical attitude toward, 123. See also Religion
Alsidzshi, mathematic, 72
Altar of the Unknown God, Paul’s error, 404
Amarna art, contemporaries, table ii
Ambrosian chants, and Jewish psalmody, 228
Amenemhet III, pyramid, 13; portrait, 108, 262
Amida, and Arabian art, 209
Analogies, superficial and real historical, 4, 6, 27, 38, 39; necessity of technique, 5
Analysis, and Classical mathematic, 69; in Western mathematic, 74, 75; inadequacy as term, 81; and earlier mathematics, 84; contemporaries, table i. See also Mathematics
Anamnesis, and comprehension of depth, 174
iiAnanke, and Tyche, 146
Anarchism, basis, 367, 373
Anatomy, in Classical and Western art, 264; Michelangelo and Leonardo, 277
Anaxagoras, and ego, 311; on atoms, 386; and mechanical necessity, 392, 394; condemnation, 411
Anaximander, and chaos, 64; popularity, 327
Ancient History, as term, 16
Angelico, Fra, and the antique, 275
Antigone, and Kriemhild, 268
Antiphons, and Jewish psalmody, 228
Antisthenes, character of Nihilism, 357; and diet, 361
Antonello da Messina, Dutch influence, 236
Apelles, contemporaries, table ii
Aphrodisias Temple in Caria, as pseudomorphic, 210
Aphrodite, as goddess, 268; in Classical art, 268
Apollinian soul, explained, 183. See also Classical Culture
Apollo Didymæus Temple, form-type, 204
Apollo of Tenea, contemporaries, table ii
Apollodorus of Damascus, Roman architecture, 211
Apollonius Pergæus, and infinity, 69; mathematic, 90
Appius Claudius, contemporaries, table iii
Arabesque, algebraic analogy, 72; period, 108; spun surface, 196; character, 203, 212; as symbol, 215, 248; end-art, 223; contemporaries, table ii
Arabian Culture, and polar idea of history, 18; mathematic, significance of algebra, 63, 71-73; expressions, 72; and Late-Classical, 73, 209, 212, 214; and Marycult, 137; prime symbol, cavern, 174, 209, 215; soul and dualism, 183, 305-307, 363; “inside” architectural expression, 184, 199, 200, 224; religious expression, 187, 188, 312, 401; and Russian art, 201; autumn of style, 207; art as single phenomenon, 207-209; art research, 209; dome space-symbolism, 210-212; ornamentation, 212; fetters, 212; emancipation, hurry, 213; and mosaic, 214; arch-column, 214; Acanthus motive, 215; and portraiture, 223, 262; architecture in Italy, 235; music, 228; and Renaissance, 235; gold as symbol, 247; political concept, 335; will-lessness, 309, 311; art and spectator, 329; and world-history, 363; nature idea, chemistry, 382-384, 393; religion in Late-Classical, 407; spiritual epochs, table i; art epochs, table ii
Arabian Nights, as symbol, 248
Arbela, battle, 151
Arcadians, provided history, 11
Arch, and column, 214, 236
Archæology, and historical repetition, 4; cultural attitude, 14, 132, 254; significance, 134.
Archimedes, style, 59; and infinity, 69; mathematical limitation, 84, 90; contemporaries, 112, 386; and metaphysics, 366; and motion, 377; as creator, 425
Architecture, ahistoric symbolism of Classical, 9, 12n.; symbolism of Egyptian, 69, 189, 202; transition to and from Arabian, 72, 73; Rococo as music, 87, 231, 285; as early art of a Culture, mother-art, 128, 224; undurable basis of Classical, 132, 198; column, and arch, 166, 184, 204, 214, 236, 260n., 345; dimension and direction, cultural relation, 169n., 177, 184, 205, 224; symbolism in Chinese, 190, 196; imitation and ornament, becoming and become, 194-198, 202; history of techniques and ideas, 195; of Civilization period, 197; stage of Russian, 201; Classical, feeble development of style, 204; pseudomorphic Late-Classical, basilica, 209, 212, 214; Arabian, dome type, 208, 210-212; Western façade and visage, 224; cathedral and infinite space, forest character, 198-200, 224, 396; Arabian in Italy, 235; place of Renaissance, 235; Michelangelo and Baroque, 277; and cultural morale, 345; contemporary cultural epochs, table ii. See also Art; Baroque; Egyptian Culture; Doric; Gothic; Romanesque
Archytas, irrational numbers and fate, 65n.; and higher powers, 66; contemporaries, 78, 90, 112, table i; and metaphysics, 366
Arezzo, school of art, 268
Aristarchus of Samos, and Eastern thought, 9; and heliocentric system, 68, 69, 139
Aristotle, ahistoric consciousness, 9; entelechy, 15; contemporaries, 17, table i; and philosophy of being, 49n.; mechanistic world-conception, 99, 392; and deity, 124, 313; tabulation of categories, 125; as collector, 136n.; as Plato’s opposite, 159; on tragedy, 203, 318, 320, 321, 351; on body and soul, 259; on Zeuxis, 284; and inward life, 317; and philanthropy, 351; and Civilization, 352; and diet, 361;
iii culmination of Classical philosophy, 365, 366; and mathematics, 366; on atoms, 386; as atheist, 409; condemnation, 411
Army, Roman notion, 335
Art and arts, irrational polar idea, 20; as sport, 35; and future of Western Culture, 40; as mathematical expression, 57, 58, 61, 62, 70; Arabian, relation to algebra, 72; and vision, 96; causal and destiny sides, 127, 128; Western, and “memory,” 132n.; mortality, 167; religious character of early periods, 185; lack of early Chinese survivals, 190n.; as expression-language, 191; and witnesses, 191; imitation and ornament, 191-194; their opposition, becoming and become, 194-196; typism, 193; so-called, of Civilization, copyists, 197, 293-295; meaning of style, 200, 201; forms and cultural spirituality, 214-216; as symbolic expression of Culture, 219, 259; expression-methods of wordless, 219n.; sense-impression and classification, 220, 221; historical boundaries, organism, 221; species within a Culture, no rebirths, 222-224; early period architecture as mother, 224; Western philosophical association, 229; secularization of Western, 230; dominance of Western music, 231; outward forms and cultural meaning, 238; and popularity, 242; space and philosophy, 243; cultural basis of composition, 243; symptom of decline, striving, 291, 292; trained instinct and minor artists, 292, 293; cultural association with morale, 344; contemporary cultural epochs, table ii. See also Imitation; Ornament; Science; Style; arts by name
Aryan hero-tales, contemporaries, table i
Astrology, cultural attitude, 132, 147
Astronomy, Classical Culture and, 9; heliocentric system, 68, 139; dimensional figures, 83; cultural significance, 330-332
Ataraxia, Stoic ideal, 343, 347, 352, 361
Atheism, and “God”, 312n.; as definite phenomenon, position, 408, 409; cultural basis of structure, 409; and toleration, 410, 411
Athene, as goddess, 268
Athens, and Paris, 27; culture city, 32; as religious, 358
Athtar, temples, 210
Atmosphere, in painting, 287
Augustine, Saint, and time, 124, 140; and Jesus, 347; contemporaries, table i
Augustus, as epoch, 140; statue, 295
Aurelian, favourite god, 406; contemporaries, table iii
Avalon, and Valhalla, 401
Avesta. See Zend Avesta
Aviation, Leonardo’s interest, 279
Avicenna, on light, 381; contemporaries, table i
Baader, Franz X. von, and dualism, 307
Babylon, and time, 9, 15; geographical science, 10; place in history, 17; autumnal city, 79
Baccio della Porta. See BartolommeoBartolommeo
Bach, John Sebastian, contemporaries, 27, 112, 417, table ii; as analysist, 62; contemporary mathematic, 78; fugue, 230; and dominance of music, 231; and popularity, 243; pure music, 283; ease, 292; ethical passion, 355; God-feeling, 394
Bachofen, Johann J., Classical ideology, 28; on stone, 188
Backgrounds, in Renaissance art, 237; in Western painting, 239; in Western gardening, 240. See also Depth-experience
Bacon, Roger, world-conception, 99; and mechanical necessity, 392; contemporaries, table i
Bähr, Georg, architecture, 285
Baghdad, autumnal city, 79; contemporary cities, 112; philosophy of school, 248, 306, 307; contemporaries of school, table i
Ballade, origin, 229
Bamberg Cathedral, sculpture, 235
Barbarossa, symbolism, 403
Baroque, mathematic, 58, 77; musical association, 87, 228n., 230; as stage of style, 202; sculpture as allegory, 219n.; origin, 236; depth-experience in painting, 239; in gardening, 240; portraits, 265; Michelangelo’s relation, 277; philosophy, reason and will, 308; soul, 313, 314; contemporaries, table ii. See also Art
Bartolommeo, Fra (Baccio della Porta), and line, 280; dynamic God-feeling, 394
Basilica, as pseudomorphic type, 209, 210; and Western cathedral, 211, 224; contemporaries, table ii
Basilica of Maxentius (Constantine), Arabian influences, 212
ivBasra School, philosophy, 248, 306; contemporaries, table i
Basso continuo. See Thoroughbass.
Baths of Caracalla, Syrian workmen, 211, 212
Battista of Urbino, portrait, 279
Baudelaire, Pierre Charles, sensuousness, 35; autumnal accent, 241; and the decadent, 292
Bayle, Pierre, and imperialism, 150
Bayreuth. See Wagner
Beauty, transience, cultural basis, 194; as Classical rôle, 317
Become, Civilization as, 31, 46; philosophers, 49n.; explained, relationships, 53; and learning, 56; and extension, 56; and mathematical number, 70, 95; relation to nature and history, 94-98, 102, 103; and symbolism, 101; and causality and destiny, 119; and problem of time, 122; and mortality, 167; in art, 194. See also Becoming; Causality; Nature; Space
Becoming, and history, 25, 94-98, 102, 103; philosophers, 49n.; explained, relationships, 53; intuition, 56; and direction, 56; and chronological number, 70; relation to nature and destiny and causality, 119, 138, 139; and mathematics, 125, 126; in art, 194. See also Become; Destiny; History; Time
Beech, as symbol, 396
Beethoven, Ludwig van, contemporary mathematic, 78, 90; and pure reason, 120; and imagination, 220; orchestration, 231; inwardness, “brown” music, 251, 252, 252n.; music as confession, 264; period, 284; straining, 291; contemporaries, table ii
Bellini, Giovanni, and portrait, 272, 273
Benares, autumnal city, 99
Benedetto da Maiano, and ornament, 238; and portrait, 272
Bentham, Jeremy, and imperialism, 150; and economic ascendency, 367; contemporaries, table i
Berengar of Tours, controversy, 185
Berlin, megalopolitanism, 33; as irreligious, 79, 358
Berlioz, Hector, contemporaries, table ii
Bernard of Clairvaux, Saint, contemporaries, 400, table i
Bernini, Giovanni Lorenzo, architecture, 87, 231, 244, 245; contemporaries, table ii
Berry, Duke of, Books of Hours, 239
Beyle, Henri. See Stendhal
Bible, and periodic history, 18; as Arabian symbol, 248. See also Christianity
Biedermeyer, contemporaries, table ii
Binchois, Égide, music, 230
Binomial theorem, discovery, 75
Biography, and portraiture, 12; Cultures and, 13, 14; and character, 316; and Western tragedy, 318. See also Portraiture
Biology, and preordained life-duration, 108; in politics, 156; as weakest science, 157; and Civilization, 360
Bizet, Georges, “brown” music, 252
Blood, Leonardo’s discovery of circulation, 278
Blue, symbolism, 245, 246
Body, as symbol of Classical Culture, 174; and geometrical systems, 176n.; in Arabian philosophy, 248; and soul, Classical expression, 259-261. See also Sculpture; Spirit
Boehme, Jakob, contemporaries, table i
Bogomils, iconoclasts, 383
Bohr, Niels, and mass, 385, 419
Boniface, Saint, as missionary, 360
Books of Hours, Berry’s, 239
Books of Numa, burning, 411
Boomerang, and mathematical instinct, 58
Borgias, Hellenic sorriness, 273
Botticelli, Sandro, Dutch influence, 236; goldsmith, 237; and portrait, 271, 272
Boucher, François, and body, 271
Bourbons, analogy, 39
Boyle, Robert, and element, 384
Brahmanism, transvaluation, 352; Buddhist interpretation of Karma, 357; contemporaries of Brahmanas, table i. See also Indian Culture
Brain, and soul, 367
Bramante, Donato d’Angnolo, plan of St. Peter’s, 184
Brancacci Chapel, 237, 279
Bronze, and Classical expression, 253; patina, 253; Michelangelo and, 276
Brothers of Sincerity, on light, 381; contemporaries, table i
Brown, symbolism of studio, 250, 288; Leonardo and, 280
Bruckner, Anton, end-art, 223; “brown” music, 252
Bruges, loss of prestige, 33; as religious, 358
Bruno, Giordano, world, 56; martyrdom, 68; and vision, 96; esoteric, 326; astronomy, 331; contemporaries, table i
Brutus, M. Junius, character, 5
Buckle, Henry T., and evolution, 371
Buddhism, and Civilization, end-phenomenon, materialism, 32, 352, 356, 357, 359, 409; and state, 138; Nirvana, 178, 357, 361; morale, 341, 347; scientific basis of ideas, 353; moral philosophy, 355; as peasant religion, 356n.; and Christianity, 357; and contemporaries, 357, 358, 361, table i; and diet, 361. See also Religion
Burckhardt, Jacob, Classical ideology, 28; on Renaissance, 234
Buridan, Jean, Occamist, 381
Burlesque, Classical, 30, 320
Busts, Classical, as portraits, 269, 272
Buxtehude, Dietrich, organ works, 220
Byron, George, Lord, and Civilization, 110
Byzantinism, as Civilization, 106; and portraiture, 130n.; style, 206; Acanthus motive, 215; allegorical painting, 219n.; contemporaries, tables ii, iii. See also Arabian Culture
Cabeo, Nicolaus, theory of magnetism, 414
Caccias, character, 229
Cæsar, C. Julius, analogies, 4, 38; and newspaper, 5; and democracy, 5; conquest of Gaul, 36n.; practicality, 38; and calendar and duration, 133; and economic organization, 138; and destiny, 139; bust, 272; morale, 349; Divus Julius, 407; contemporaries, table iii
Cæsarism, and money, 36; contemporary periods, table iii
Calchas, cult, 185
Calculus, and Classical astronomyastronomy, 69; limit-idea, 86; Newtonian and Leibnizian, 126n.; and religion, 170; as Jesuit style, 412; basis threatened, 419. See also Mathematics
Calderon de la Barca, Pedro, plays as confession, 264
Calendar, Cæsar’s, 133
Caliphate, Diocletian’s government, 72, 212; deification of caliph, 405
Callicles, ethic, 351
Calvin, John, predestination and evolution, 140n., 141; and Western morale, 348; variety of religion, 394; contemporaries, table i
Can Grande, statue, 272
Cannæ, as climax, 36
Cantata, and orchestra, 230
Canzoni, character, 229
Caracalla, and citizenship and army, 335, 407
Cardano, Girolamo, and numbers, 75
Care, and distance, 12; cultural attitude, relation to state, 136, 137; and maternity, 267
Carissimi, Giacomo, music, pictorial character, 230, 283
Carneades, and mechanical necessity, 393
Carstens, Armus J., naturalism, 212
Carthage. See Punic Wars
Castle, and cathedral, 195, 229
Categories, tabulation, 125
Catharine of Siena, Saint, and Gothic, 235
Cathedral, as ornament, 195; and castle, 229; forest-character, 396; contemporaries, table ii. See also Gothic; Romanesque
Cato, M. Porcius, Stoicism and income, 33
Cauchy, Augustin Louis, notation, 77; mathematic problem, 85; and infinitesimal calculus, 86; mathematical position, 90; goal of analysis, 418; contemporaries, table i
Causality, history and Kantian, 7; and historiography, 28; and number, 56; and pure phenomenon, 111n.; and destiny and history, limited domain, 117-121, 151, 156-159; and space and time, 119, 120, 142; and principle, 121; and grace, 141; and reason, 308; and Civilization, 360; and destiny in natural science, 379; and mechanical necessity, 392-394. See also Become; Destiny; Nature; Space
Cavern, as symbol, 200, 209, 215, 224
Celtic art, as Arabian, 215
Centre of time, and history, 103
Ceres, materiality, 403
Cervantes, Miguel de, tragic method, 319
Ceylon, Mahavansa, 12
Cézanne, Paul, landscapes, 289; striving, 292
Chæronea, issue at battle, 35
Chalcedon, Council of, and Godhead, 209, 249
Chaldeans, astronomy, Classical reaction, 147
Chamber-music, as summit of Western art, 231
Chan-Kwo period, contemporaries, table iii
Character, and person, 259; and will, Western ego, 314, 335; Cultures and study, 316; gesture as Classical substitute, 316; in Western tragedy, Classical contrast, 317-326. See also Morale; Soul
Chardin, Jean B. S., and French tradition, 289
Chares, Helios and gigantomachia, 291
Charity. See Compassion
Charlemagne, analogies, 4, 38; contemporaries, table iii
Charles XII of Sweden, analogy, 4
viChartres Cathedral, sculpture, 235, 261
Chemistry, thoughtless hypotheses, 156n.; no Classical, 383; Western so-called, 384; as Arabian system, 384, 393; new essence, entropy, 426. See also Natural science
Chian, contemporaries, table iii
Children, Western portraiture, 266-268. See also Motherland.
Chinese Culture, historic feeling, 14; imperialism, 37; philosophers, 42, 45; time-measurement, 134n.; ancestral'ancestral worship, 135n.; and care, 136; attitude toward state, 137; economic organization, 138; destiny-idea, landscape as prime symbol, 190, 196, 203; lack of early art survivals, 190n.; and tutelage, 213; music, 228; gardening, 240; bronzes, patina, 253n.; portraiture, 260, 262; Civilization, 295; soul, perspective as expression, 310n.; passive morale, 315, 341, 347; and discovery, 333, 336; political epochs, table iii. See also Cultures
Chorus, in art-history, 191; in Classical tragedy, 324
Chosroes-Nushirvan, art of period, 203
Chóu Li, on Chóu dynasty, 137
Chóu Period, and care, 137; contemporaries, table iii
Christianity, comparisons, 4; Eastern, and historical-periods, 22n.; and poor Stoics, 33n.; as Arabian, 72, 402; Mary-cult, Madonna in art, 136, 267, 268; destiny in Western, 140; architectural expression of early, 208-211; colour and gold as symbols, 247-250; in Western art, spiritual space, 279; dualism in early, 306; “passion”, 320n.; Eastern, and home, 335; Western transformation of morale, 344, 347, 348; and Buddhism, 357; of Fathers and Crusades, 357n.; missionarism, 360; God-man problem as alchemistic, 383; and mechanical necessity, miracles, 392, 393; elements of Western, 399-401; foreign gods as titles, 408n. See also Religion
Chronology, relation of Classical Culture, 9, 10; as number, 97, 153n.; and the when, 126; and archæology, 134. See also History
Chrysippus, and Stoicism, 33, 358; and corporeality, 177
Chuang-tsü, practical philosophy, 45
Chun-Chiu Period, contemporaries, table iii
Cicero, M. Tullius, analogy, 4
Cimabue, Giovanni, and nature, 192; and Byzantine art, 238; and Francis of Assisi, 249n.; and portraiture, 273
Cimarosa, Domenico, ease, 292
Cistercians, soul, 360
Citizenship, Classical concept, 334. See also Politics
Civilization, defined, as destiny of a Culture, 31-34, 106, 252, 353, 354; and the “become”, 31, 46; and megalopolitanism, 32, 35; money as symbol, 34-36; and economic motives, 35; imperialism, 36; destiny of Western, 37, 38; and scepticism, 46, 409; Alexander-idea, 150; English basis of Western, 151, 371; Western, effect on history, 151; so-called art, 197, 293-295; style histories, 207; Western painting, plein-air, 251, 288, 289; and gigantomachia, 291; Manet and Wagner, 293; transvaluation of values, striving, 351, 353; Nihilism and inward finishedness, 352; manifestations, 353, 354; problematic and plebeian morale, 354, 355; and irreligion, 358; diatribe as phenomenon, 359; and biological philosophies, philosophical essence, 361, 367; natural science, 417; contemporary spiritual epochs, table i; contemporary art epochs, table ii; contemporary political epochs, table iii. See also Cultures
Clarke, Samuel, and imperialism, 150
Classical Culture, philosophy, culmination, 3, 45; ahistoric basis, 8-10, 12n., 97, 103, 131-135, 254, 255, 264, 363; and chronology, 9, 10n.; and geography, 10n.; religious expression, bodied pantheon, later monotheistic tendencies, 10, 11, 13, 187, 312, 397, 398, 402-408; and mortality, funeral customs, 13, 134; portraiture, 13, 130, 264, 265, 269, 272; and archæology, 14; and measurement of time, 15; mathematic, 15, 63-65, 69, 77, 83, 84, 90; contemporary Western periods, 26; Western views, ideology, 27-31, 76, 81, 237, 238, 243, 254, 270, 323; “Classical” and “antike”, 28n.; civilization, Rome, Stoicism, 32-34, 36, 44, 294, 352; cosmology, astronomy, 63, 68, 69, 147, 330; cultural significance of mathematic, 65-67, 70; and algebra, 71; surviving forms under Arabian Culture, 72, 73, 208; opposition to Western soul, 78; and space, 81-84, 88, 175n.; “smallness”, 83; relation to proportion and function, 84, 85; popularity, 85, 254, 326-328; and destiny-idea, dramatic illustration, 129, 130, 143, 146, 147, 317-326, 424; care and sex attitude, family and home, 136, 266-268, 334-337; attitude toward state, 137, 147; and economic organization, 138; actualization of the corporeal only, sculpture, 176-178, 225, 259-261; soul, attributes, 183, 304, 305; architectural expression, 184, 198, 224; weak style, 203; art-work and sense-organ, 220; and music, 223, 227; and form and content, 242;
vii and composition, 243; colour, 245-247; nature idea, statics, 263, 382-384, 392; and discovery, 278; painting, 287; will-less-ness, 309, 310; lack of character, gesture as substitute, 316; art and time of day, 325; morale, ethic of attitude, 341, 342, 347, 351; and “action”, 342n.; cult and dogma, 401, 410; and strange gods, 404; scientific periods, 424; spiritual epochs, table i; art epochs, table ii; political epochs, table iii. See also Art; Cultures; Renaissance; Science
Classicism, and dying Culture, 108; defined, 197; period in style, 207
Claude Lorrain, landscape as space, 184; “singing” picture, 219; and ruins, 254; colour, 246, 288; period, 283; landscape as portrait, 287
Cleanliness, cultural attitude, 260
Cleisthenes, contemporaries, table iii
Cleomenes III, contemporaries, table iii
Cleon, and economic organization, 138
Clepsydra, Plato’s, 15
Clouds, in paintings, 239
Cluniac reform, and architecture, 185
Clytæmnestra, and Helen, 268
Cnidian Aphrodite, 108, 268
Cognition, and nature, 94, 102, 103
Colleoni, Bartolommeo, statue, 238, 272
Colosseum, and real Rome, 44; form type, 204; contemporaries, table ii
Colossus of Rhodes, and gigantomachia, 291
Colour, Goethe’s theory, 157n., 158n.; and depth-experience, 242; Classical and Western use, symbolism, 245-247; Western blue and green, 245; Arabian Culture and gold, 247-249; brushwork and motion-quality, 249; studio-brown, as symbol, 250, 288; Leonardo’s sense, 280; plein-air, 288. See also Painting
Columbus, Christopher, and Spanish ascendency, 148; and Leonardo, 278; and space and will, 310, 337; spiritual result, 334
Compass, symbolism, 333
Compassion, times and meaning, 347-351; and Socialism, 362
Composition in art, cultural basis, 243
Comprehension, qualities, 99
Comte, Auguste, provincialism, 24; and economic ascendency, 367, 373; contemporaries, table i
Confession, as Western symbol, 131, 140, 261, 264; absence in Renaissance art, 273
Confucius, and actuality, 42; and analogies, 357
Conic sections, contemporaries, table i
Conquest, as Western concept, 336
Consciousness, phases, 154
Consecutives in church music, 188
Conservation of energy, and causality, 393; and first law of thermodynamics, 413; and concept of infinity, 418; and entropy, 420-424
Constable, John, significance of colour, 251; and impressionism, 288
Constantine the Great, and artistic impotence, 294; as caliph, 405; religion, 407
Constantinople. See Byzantium; Haggia Sophia
Consus, materiality, 403
Contemplation, defined, 95
Contemporaneity, intercultural, 26, 112, 177, 202n., 220; number paradigm, 90; Classical sculpture and Western music, 226, 283, 284, 291; in physical theories, 386; spiritual epochs, table i; culture epochs, table ii; political epochs, table iii
Contending States, period in China, homology, 111
Content, and form, 242, 270
Contrition, sacrament as Western symbol, 261, 263
Conversion, impossibility, 345
Copernicus, Classical anticipation of system, 68, 139; and destiny, 94; discovery and Western soul, 310, 330, 331
Corelli, Arcangelo, sonatas, 226, 283; and dominance of music, 231; colour expression, 252n.; Catholicism, 268n.
Corinth, and unknown gods, 404
Corinthian column, contemporaries, table ii. See also Column
Corneille, Pierre, and unities, 323
Corot, Jean B. C., colour, 246, 289; and nude, 271; impressionism, 286; landscape as portrait, 287; ease, 292
Cosmogonies, contemporaries, table i
Cosmology, cultural attitude, 63, 68, 69, 147, 330-332. See also Astronomy
Counterpoint, and Gothic, 229; and fugue, 230. See also Music
Counter-Reformation, Michelangelo and spirit, 275
Courbet, Gustave, landscapes, 288-290
Courtyards, Renaissance, 235
Cousin, Victor, and economic ascendency, 367
Coysevox, Antoine, sculpture, 232; decoration, 245
Cranach, Lucas, and portraiture, 270
Crassus Dives, M. Licinius, and city of Rome, 34
viiiCremation, as cultural symbol, 134
Cromwell, Oliver, and imperialism, 149; contemporaries, table iii
Ctesiphon, school, 63
Cult and dogma, cultural attitudes, 401, 410, 411; in natural science, 412
Cultures, Spengler’s morphological theory, xi; obligatory stages, symbols, 3, 4, 6, 38, 39; superficial and real analogies, 4, 6, 27, 38; theory of distinct cycles, 21, 22, 31, 78; divergent viewpoints, 23, 46, 131; as organisms, mortality, 26, 104, 109, 167; contemporary periods, 26, 112, 177, 202n., 220; Civilization as destiny, 31-34, 106, 252, 353, 354; symmetry, 47; and notion of the world, language, 55; physiognomic meaning as essence of history, 55, 101, 104, 105; mathematical aspects, separation, 57-63, 67, 70; and universal validity, 60, 146, 178-180, 202, 287; number-thought and world-idea, 70; stages, 106, 107; application of term “habit” or “style”, 108, 205; recapitulation in life of individuals, 110; homologous forms, 111; separate destiny-ideas, 129, 145; comparative study, 145n.; as interpretation of soul, 159, 180, 302-304, 307, 313, 314; cultural and intercultural macrocosm, 165; particular, and nature, 169; kind of extension as symbol, 173-175; actualization of depth-experience, 175; plurality of prime symbols, 179, 180; tutelage, 213; art forms and spiritualities, 214-216; arts of form as symbolic expression, 219; significance of species of art, 222-224; as bases of morale, 315, 345-347; and times of day, 325; and nature-law, 377-380, 382, 387; scientific period, 381; religious springtimes, 399-402; renunciation, second religiousness, 424; characteristics of seasons, table i; contemporary art epochs, table ii; contemporary political epochs, table iii. See also Arabian; Art; Chinese; Classical; Egyptian; History; Indian; Macrocosm; Morphology; Nature; Spirit; Western
Cupid, as art motive, 266
Cupola. See Dome
Curtius Rufus, Quintus, biography of Alexander, 4
Cusanus, Nikolaus. See Nicholas of Cusa
Cuyp, Albert, landscape as portrait, 287
Cyaxares, and Henry the Fowler, 4
Cybele, cult, 406
Cynics, practicality, 45; morale, 203, 342; and digestion, 361; contemporaries, table i
Cypress, as symbol, 396
Cyrenaics, practicality, 45; contemporaries, table i
Dante Alighieri, historical consciousness, 14, 56, 142, 159; influence of Joachim of Floris, 20; and vision, 96; homology, 111; and popularity, 243; and confession, 273; and psychology, 319; and time of day, 325n.; esoteric, 328; morale, 355; variety of religion, 394; contemporaries, table i
Danton, Georges, adventurer, 149
Darwinism and evolution, and Socialism, 35, 370-372; and practical philosophy, 45; morphology and vision, 104n., 105; Goethe and, 111n.; and teleology, 120; and destiny, 140; and cultural art-theory, 141n.; and usefulness, 155; and biological politics, 156; nature and God, 312; anticipation, Darwin’s political-economic application, 369-373; contemporaries, table i
David, Pierre Jean, naturalism, 212
Dea Cælestis, 406
Death, and historical consciousness, 13; and become, 54, 167; Cultures and funeral customs, 134, 135, 185; and space, 166; and world-fear and symbolism, 166; stone as emblem, 188; and ornament, 195
Decoration, architectural, 196; Gothic, and bodilessness, 199; Arabian, 208, 212; mosaic, 214; Acanthus motive, 215. See also #Ornament#
Dedekind, Richard, notation, 77, 95
Definitions, and destiny, xiv; fundamental, 53-56
Deities, cultural basis, 312. See also Religion
Delacroix, Ferdinand V. E., and impressionism, 288; contemporaries, table ii
Delphi, Polygnotus’s frescos, 243
Demeter cult, 83; spring festivals, 320; contemporaries, table i
Demeter of Knidos, statue, 136
Demetrius of Alopeke, and portraiture, 130, 269
Democracy, decay by formalism, 35; contemporary periods, table iii. See also Politics
Democritus, and corporeality, 177; and ego, 311; cosmology, 331; atoms, 385; Leibniz as contemporary, 386; and motion, 389; and mechanical necessity, 392-394; contemporaries, table i
Demosthenes, statue, 270
ixDepth-experience, significance, 168, 169, 172-174; and number, 171; and time, 172, 173; realization as cultural symbol, 173-175; in Western painting, 239, 246; in Western gardening, 240; and destiny, 241; and philosophy in art, 243; in portrait, 263, 266; and impressionism, 285-287; and will, 311; in Socialism, 361; and natural science, 380, 386, 394; Western God-feeling, 395; cathedral and organ, 396. See also Destiny; Space
Desargues, Girard, mathematic, 75
Descartes, René, civic world-outlook, 33; and actuality, 42; style, 61; mathematics and religion, 66; relation to Classical mathematic, 69; and new number-idea, 74, 75, 81, 88, 90, 126, 188; contemporaries, 112, table i; and Jansenists, 314n.; as thinker, 366; thinking and being, 387; on force, 413
Des Près, Josquin, music, 230
Destiny, and pessimism, xiv; historical, 3, 4, 6, 38-41; as logic of time, 7; acceptance, 40, 44; in World War, 47; fulfilment of Western mathematic, 90; of a Culture, 106, 145; and causality, 117-121; soul and predestination, 117; organic logic, 117; and time and space, 119, 120; and idea, 121; in art, revolts, 127, 128, 233; separate cultural ideas, illustrations, 129-131, 145-149, 189, 190, 424; in Western Christianity, 140, 141; and incident, 138-141, 144; and nature, 142; Classical “fate”, body and personality, 143, 147; youth, 152; and Western depth-experience, 241; patina as symbol, 253; and motherhood, 267; Western, and painting, 276n.; ethic and soul’s view, 302, 346, 355; and will, 308; and Civilization, 360; and causality in natural science, 379; and decay of exact science, 422-424. See also Becoming; Causality; Civilization; History; Time
Devil, disappearance, 187; and Arabian dualism, 312, 363
Diadochi, period as episode, 149, 151
Diatribe, as phenomenon of Civilization, 359
Diet, and Civilization, 361
Diez, Feodor, significance of colour, 252
Differential calculus, as symbol, 15. See also Calculus
Dinzenhofer, Kilian I., architecture, 285
Diocletian, as caliph, 72, 212, 405; as epoch, 149; and Mithras 406
Diogenes, morale, 203; and deity, 313; Indian kinship, 347, 357
Dionysiac movement, Alexander and legend, 8; contemporaries, homology, 27, 110, table i; as revolt, 233, 356; spring festival, 320, 321, 324
Dionysius I, contemporaries, table iii
Diophantus, algebra, and Arabian Culture, 63, 71-73, 383
Dipylon vases, 73, 107, 196
Direction, and time and becoming, 54, 56; and extension, 99, 172; and dimension, 169n.; and will, 308; and aim, 361. See also Time
Discant, music, 229
Discobolus, Myron’s, 263, 265
Discovery, as Western trait, 278, 279, 332; and space and will, 310, 337; spiritual results, 334
Divinities. See Religion
Dogma and cult, cultural attitude, 401, 410, 411; in natural science, 412
Doliche, Baal, 407
Dome, as Arabian art expression, 210
Dome of the Rock, characteristics, 200
Dominicans, influence of Joachim of Floris, 20
Domitian, contemporaries, table iii
Doric, column as symbol, 9, 195; and Gothic, 27; timber style, 132; and Ionic, 205; and Egyptian, 213; Western exclusion, 345; contemporaries, table ii, iii. See also Architecture; Column
Drama, cultural basis, Classical and Western, 128-131, 141n., 143, 147, 148, 203, 255, 317-322, 347; German, 290; development of Classical, 320, 321; cultural basis of form, unities, 322, 323; undeveloped Western, 323; Classical elimination of individuality, 323; chorus, 324; and time of day, 324; attitude toward scene, 325; and cultural basis of morale, 347; and philosophy of Western activism, 368, 372; Classical, and atomic theory, 386
Dresden, architecture, 207, 285; chamber music, 232
Droem, autumnal accent, 241
Dryads, passivity, 336; materiality, 403
Dschang Yi, and imperialism, 37
Dualism, in Arabian Culture, 305-307, 363; and will and reason, 309; in religion, 312
Dühring, Eugen Karl, position in Western ethics, 373
Dürer, Albrecht, historical heads, 103; colour, 245, 250; and act and portrait, 270
Dufay, Guillaume, music, in Italy, 230, 236
Duns Scotus, historical place, 72; contemporaries, table i
.xDunstaple, John, music, 230
Duration. See Life
Dyck, Anthony van. See Van Dyck
Dynamics, as Western system, 384, 393. See also Natural science
Eckhardt, Meister, on imitation, 191; mysticism, 213; egoism, 335; wisdom and intellect, 409; contemporaries, table i
Economic motives. See Money
Economic organization, cultural attitude toward care, 138
Economics, and Western practical ethics, 367-369. See also Politics; Socialism
Eddas, space-expression, 185, 187; and Western religion, 400, 423; contemporaries, table i
Edessa, school, 63, 381; and Arabian art, 209; Baal, 407
Edfu, temple, 294
Egoism, in Western Culture, 262, 302, 309, 335
Egyptian Culture, historic aspect, 12; and immortality, 13; and pure number, 69; historical basis, funeral custom, 135; and care, 136; and Mary-cult, 137; attitude toward state, 137; economic organization, 138; stone as symbol, 188; destiny-idea, path as prime symbol, 188, 189; architectural expression, 189, 202; brave style, 201-203; and tutelage, 213; streets, 224; art composition, 243; sculpture, 248n., 266; and portrait, 262; Civilization, 294, 295; view of soul, 305; morale, 315; and discovery, 332; and Socialism, 347; and man-deification, 405n.; art epochs, table ii; political epochs, table iii. See also Cultures; arts by name, especially Architecture
Egyptianism, contemporary periods, table iii
Eichendorff, Joseph von, poetry, 289
Elements, cultural concepts of physical, 383, 384. See also Atomic theories; Natural science
Eleusinian mysteries, dramatic imitation, 320
Emigration, cultural attitude, 336
Empedocles, elements, 327, 383, 384; on atoms, 386
Emperor-worship, 405, 407, 411
Empire style, as Classicism, 207; contemporaries, table ii
Encyclopedists, contemporaries, table i
Engels, Friedrich, and Hegelianism, 367; position in Western ethics, 373
England, Manchester system and Western Civilization, 29, 151, 371; imperialism and Napoleonic epoch, 149-151
Enlightenment, Age of, and movement, 155; effect on monasticism, 316n.; and tolerance, 343; and cult and dogma, 411
Entelechy, ahistoric aspect, 15
Entropy, theory, formulations, 420; effect, 421-424
Epaminondas, and invented history, 11
Ephesus, Council of, and Godhead, 209
Epic, and religion, 399-402
Epictetus, and Jesus, 347
Epicureanism, practicality, 45; morale, 315; and will, 341, 342; contemporaries, table i
Epicurus, Indian kinship, 347; character of Nihilism, 357; and Socialism, 358; and mathematics, 366; and ethics, 367; contemporaries, table i
Epigoni, and Socialism, 374
Epistemology, and history, 119, 355
Epochs, personal and impersonal, 148. See also Incident; Destiny
Epos, contemporaries of popular, table i
Erastosthenes, as creator, 425
Erechtheum, in style history, 108, 207
Eroticism. See Sex
Esoterics, in Western Culture, 326-329. See also Popularity
Etching, Leonardo’s relation, 281; as Western art, 290
Ethics, relation to Culture, 354; period in philosophy, 365-367; socio-economic character of Western, 367-369; dramatical presentation of Western, 368, 372; evolution theory, aspects, 369-372; landmarks of Western, 373, 374; exhaustion of period, 374. See also Metaphysics; Morale; Philosophy
Eucharist, cultural significance, 185, 186; as centre of Western Christianity, 247
Euclid, mathematical style, 59, 64, 65; limitation of geometry, 67, 88; mathematical position, 90; parallel axiom, 176n. See also Geometry
Euler, Leonhard, mathematic, 78, 90; and differentials, 86; and time, 126; contemporaries, 231, table i
Euripides, unpopularity, 35; foreshadowing by, 111; end-art, 223; tragic method, 319
Evolution. See Darwinism
Exhaustion-method of Archimedes, 69
Experience, and historical sense, 10; lived and learned, 55;
xi in Western concept of nature, 393; and faith, 394; and theory, 395
Experiment, and experience, 393
Exploration. See Discovery
Expressionism, farce, 294
Extension, and direction, 99, 172; and reason, 308. See also Space
Eyck, Jan van, portraits, 272, 309; contemporaries, table ii
Eye, in sculpture, 329
Façades, cultural significance, 224; Renaissance, 235
Fact, and theory, 378
Fairies, cultural attitude, 336, 403
Faith, and Western mathematic, 78. See also Religion
Family, Western portraits, 266; Civilization and race-suicide, 359. See also Motherhood
Faraday, Michael, and theory, 100, 378, 416
Farnese Bull, theatrical note, 291
Fate, cultural attitude, 129. See also Destiny
Faunus, materiality, 403
Faustian soul, explained, 183. See also Western Culture
Fauxbourdon, music, 229
Fear, and Classical and Western tragedy, 321
Federigo of Urbino, portrait, 279
Feeling, and “proper,” 53
Fermat, Pierre de, relation to Classical mathematic, 69; mathematic style, 74, 75, 90; problem, 76, 77; contemporaries, table i
Feudalism, contemporary periods, table iii
Feuerbach, Ludwig A., provincialism, 24; position in Western ethics, 373; contemporaries, table i
Fichte, Johann G., basis of Socialism, 362, 374; esoteric, 369; and mathematics, 374; contemporaries, table i
Fifty-year period, cultural rhythm, 110
Fischer von Erlach, Johann B., architecture, 285
Flaminius, C., and economic motive, 36; and imperialism, 37
Fleury, Andre, Cardinal de, policy, 4, 349
Florence, culture city, loss of prestige 29, 33; cathedral, 184, 238; and Arabian Culture, 211; and Renaissance, 233-238; and Northern art, 236; character as state, 273. See also Renaissance; Savonarola
Fontainebleau, park, 240
Force, as undefinable Western concept, numen, 390, 391, 398, 402, 412-417; stages of concept, 417; contradictions, 418. See also Natural science
Forest, and Western cathedrals, 396
Form, and law, 97; and music, 219; and content, 242, 270
Forum of Nerva, craft-art, 198, 215
Forum of Trajan, ornament, 215
Fouquet, Nicolas, and gardening, 241
Four-part movement, 231
Fourteen Helpers, 400
Fourth dimension, and Classical mathematic, 66; and time and space, 124
Fox, Charles James, contemporaries, table iii
Fragonard, Jean H., and music, 232
France, and maturity of Western Culture, 148, 150; plein-air painting, 288, 289
Francesca, Piero della, and static space, 237; perspective, 240; and artistic change, 279, 287
Francis I of France, and imperial crown, 148
Franciscans, influence of Joachim of Floris, 20
François Vase, composition, 244
Frau Holle, and Mary-cult, 267
Frau Venus, symbolism, 403
Frederick William I of Prussia, and Socialism, 138; Egyptian kinship, 347
Frederick William IV of Prussia, and German unity, 145
Free will, and destiny, 140, 141. See also Will
Freedom, and historical destiny, 39
Freiburg Minster, Viking Gothic, 213
French Revolution, incident and destiny in, 148, 149
Frescobaldi, Girolamo, music, 230
Frescos, Classical, and time of day, 225, 283, 325; Renaissance, 237, 275; displacement by oil, 279. See also Painting
Fresnel, Augustin J., light theory, 418
Friedrich, Kaspar D., and grand style, 289
Frigga, and Mary-cult, 267
Fronde, contemporaries, table iii
Front, cultural basis of architectural, 224
Fugue, style and theme, 230, 231
Function, as symbol of Western Culture, 74-78; and proportion, 84; contrast with Classical construction, 85; basis of Western number, thought, 86, 87; Goethe’s definition, 86n.; expansion in groups, aggregates, 89, 90, 426. See also Mathematics
Funeral customs, as cultural symbol, 134, 135, 158
Future, youth as, 152; cultural relation, 363
xiiGabrieli, Andrea, music, 252
Gabrieli, Giovanni, music, 226
Galen, as copyist, 425
Galileo, and natural philosophy, 7; on nature and mathematics, 57; and static idea, 236, 412; dynamic world-picture, 311; deeds of science, 355; concept of force, 386, 415, 417; and motion-problem, 390; God-feeling, 396; contemporaries, table i
Gama, Vasco da, spiritual result, 334
Gardening, as Chinese religious art, 190; Western, perspective, 240, 241; Renaissance, 241; English, and ruins, 254
Gaugamela, battle, 151
Gauss, Karl F., style, 59; artist-nature, 61; mathematical position, 78, 85, 90, 176n.; and nonperceptual geometry, 88; contemporaries, 112, table i; and dimension, 170, 172; and popularity, 327; and metaphysics, 366; goal of analysis, 418
Gaza, temple, 211
Geology, and mineralogy, 96
Geometry, Kant’s error, 6n., 170, 171; art expression, 61; limitation of Classical, 67, 83, 88; Descartes and infinite, 74; Western mathematicmathematic and term, 81; Western liberation, 86, 170n.; and arithmetic, 125, 126; systems and corporeality, 176n.; and popularity, cultural basis, 327. See also Mathematics
George, Henry, autumnal accent, 241
Gerbert. See Sylvester II
Géricault, Jean L. A. T., and grand style, 290
Germany, union as destiny, 144; and music and architecture, 285; diversion from music to painting, 289
Germigny des Près, church as mosque, 201
Gesture, as Classical symbol, 316; in Classical tragedy, 317
Gesu, Il, church at Rome, façade, 313; God-feeling, 395
Ghassanid Kingdom, 215
Ghirlandaio, Il, Dutch influence, 236
Giacomo della Porta, architecture, 314; God-feeling, 395
Gigantomachia, and decline of art, 291
Giorgione, Il, and impressionism, 239; clouds, 240; colour, 251, 252; and body, 271
Giotto, childlike feeling, 212; technique, 221; and fresco-art, 237; and Francis of Assisi, 249n.; Gothic, 235, 274; God-feeling, 395; contemporaries, table ii
Giovanni Pisano, sculpture, 212, 235, 238, 263
Glass painting, Gothic and Venetian, 252; contemporaries, table ii
Gluck, Christopher W., contemporary mathematics, 78, 90; character of arias, 219n.; music, 260; period, 284
Gnostics, music, 228; dualism, 248, 306; contemporaries, table i
Gobelins, and music, 232
God, Western, and will, 312. See also Religion
Görres, Jakob J. von, and dualism, 307
Goes, Hugo van der, in Italy, 236
Goethe, Johann Wolfgang von, and living nature and vision, vii, 95, 96, 105, 111n., 113, 140, 154, 389; influence on Spengler, xiv; historic consciousness, 14, 142, 159; on life, 20; on mankind, 21; and world-as-history, 25, 99, 104; as Classicist, 30; and Darwinism, 35, 111n., 370; and actuality, 42, 43; as philosopher, 49n., 365n.; on becoming and become, 49n., 53; and intuition, 56; on vision and observation, 61; and mathematics, 61, 65, 75; and Plato’s Ideas, 70; on function, 86n.; on form and law, 97; on symbols, 102n.; on historiography, 103; and morphology, 104n., 111; on blossoming of art, 107; display of individuality, 110; foreshadowing by, 111; and causal effort, nature-studies, 118, 155-157, 422; on reasonable order, 123; and the Almighty, 124; dramatic form, 129, 318; destiny in life, 139, 145, 146, 281; and imperialism, 149; theory of colour, 157n., 158n., 246; as Kant’s opposite, 159; and style as organism, 205; and imagination, 220; Northern pantheism, 250, 251n.; on soul and body, 259; lyrics, 286; and confession, 300; as biographer, 316; and time of day, 324; Faust as symbol of Civilization, 354; ethical passion, 355; variety of religion, 394; and cult and dogma, 411; on application of reason, 412; and world-force, 413, 417; contemporaries, table i
Götterdämmerung, Christian form, 400
Golden Age, cultural basis of concept, 363
Golden Legend, contemporaries, 400
Gorgias, autumnal accent, 207
Gospels, contemporaries, table i
Gothic, and Doric, 27; architecture, and depth-experience, 177, 184, 185, 187, 198-200; cathedrals as ornament, 195; sculpture, nude, cathedral groups, 196, 197, 227, 231, 261, 266, 272;
xiii as stage of style, 202; and Arabian, borrowings, 211, 213; musical association, 229, 230; aliveness, 233; in Italy, and Renaissance, 234-238; esoteric, 243; Italian, and Francis of Assisi, 249n.; and later Western expression, 252; and nature, 264; philosophy, will and reason, 308; God-feeling, 395; forest, cathedral, and organ, 396; contemporaries, tables ii, iii. See also Art; Western Culture
Goujon, Jean, sculpture, 244
Government. See Politics
Goya y Lucientes, Francisco, technique, 221; act and portrait, 271n., 264; ease, 292; contemporaries, table ii
Goyen, Jan van, landscape as portrait, 287
Gracchi, and economic organization, 138; as incident, 139
Grace, and destiny, 140, 141
Granada, and Arabian Culture, 216
Grassmann, Hermann G., religion and mathematic, 70
Gravitation, shaky hypothesis, 418
Great Mother of Pessinus, Rome and cult, 405
Greco, El, clouds, 240
Green, symbolism, 245, 246
Gregory VII, pope, morale, 349
Grote, George, narrow Classicalism, 29
Groups, as culmination of Western mathematic, 89, 90, 427
Grünewald, Matthias, clouds, 240; colour, 246, 250, 288; and Renaissance, 274
Guardi, Francesco, painting, 207, 220
Guercino, Giovanni F. B., colour, 246; and musical expression, 250
Guido d’ Arezzo, music, 228
Guido da Siena, and Madonna, 267
Gundisapora, school, 63
Gymnastics, and sport, 35
Habit, applied to a Culture, 108
Hadrian, analogy, 4; Pantheon as Arabian, 211
Hageladas, contemporaries, table ii
Hagia Sophia, period, 108; miracle, 130n.; character, 184, 200; mosque as resumption, 211; acanthus motive, 215
Hals, Frans, musical expression, 250; period, 283
Hamadryads, materiality, 403
Han Dynasty, importance, 94; contemporaries, table iii
Handel, George F., and dominance of music, 231; colour expression, 252n.; Catholicism, 268n.; oratorios, 283
Hannibal, contemporaries, 112, table iii; historical position, 144; ethical exception, 349
Happiness, and Classical ethic, 351
Haroun-al-Raschid, analogies, 38; contemporaries, table ii
Haydn, Joseph, contemporary mathematic, 78, 90; orchestration, 231; colour expression, 252n.; and Praxiteles, 284; period, 284; ease, 291; as religious, 358
Hebbel, Friedrich, provincialism, 24; and practical philosophy, 45; on research and vision, 102; and cultural contrasts, 128; as dramatist, 143, 290; causal effort, 156; and Civilization, 352; nebulous aim, 363; and Hegelianism, 367; and economic ethics, 370, 371, 373; character of atheism, 408n.
Hegel, Georg W. F., and history, 19, 22; and mystic philosophy, 365n.; and mathematics, 366; and critique of society, 367, 374; esoteric, 369; contemporaries, table i
Heimarmene, in Classical tragedy, 320
Hei, and Valhalla, 400
Helen, and Kriemhild, 268
Hellenism, contemporaries, tables i, ii
Hellenistic art period, contemporaries, table ii
Helmholtz, Hermann L. F. von, time and mathematic, 64; on natural science and mechanics, 377; on electrolysis, 385n.; Archimedes as contemporary, 386
Henry the Fowler, and Cyaxares, 4
Henry the Lion, morale, 349
Heracles, Vatican torso, 255
Heracles legends, contemporaries, table i
Heraclitus, morale, 268n., 315, 343; popularity, 327; and Stoicism, 356; wisdomwisdom and intellect, 409
Heræum of Olympia, timber construction, 132
Herbart, Johann F., ethics, 367
Herder, Johann G. von, and history, 19
Hermes, cults, 406
Hermes Trismegistus, and chemistry, 383
Herodotus, ahistoric consciousness, 9, 146
xivHertz, Heinrich, and theory, 378; and motion-problem, 391, 414, 416
Hesiod, contemporaries, table i
Hipparchus, as scientist, 9, 330
History, Spengler and morphology, xi; and destiny and causality, experiencing and thinking, 3, 118, 121, 151; repetitions of expression-forms, 4, 27; needed technique of analogies, 5; consciousness, 8; historic and ahistoric Cultures, 8-12, 97, 103, 132-136, 254, 255, 264, 363; consciousness and attitude toward mortality, 13; concept of morphology, 5-8, 26, 39, 100, 101; form and form feeling, 15, 16; irrational culminative division scheme, 16-18, 22; origin of the scheme, 18; Western development of it, 19, 20, 94; theory of distinct Cultures, 21, 22; provincialism of Western thinkers, 22-25; world-as-history, thing-becoming, 25, 95; single riddle, 48; time essence, 49; and intuition, 56; definite sense and nature, 55, 57, 94; and Culture, 55; detached view, 93; research and vision, 96, 102, 105, 142; anti-historical and ahistorical, 97n.; chronology, 97; as original world-form, 98; “scientific, possibility, 98, 153, 154; and mechanistic world-conception, 99; and direction and extension, 99, 100; portraiture of Cultures, 101, 104, 105; memory-picture, 103; elements of form-world, 103, 104; phenomena, 105, 106; future task, organic culture-history, 105, 159; stages of a Culture, 106-108; preordained durations, 109; homology, 111; cultural contemporaneousness, 112; enlarged possibilities, restoration and prediction, 112, 113; teleology and materialistic conception, 121; cultural basis of viewpoint, 131; cultural symbols, clock; bell, funeral customs, museums, 131, 134-136; cultural feeling of care, 136-138; judgment and life, 139; incident and destiny, Western examples, 143, 148; grandiose demand of Western, 145; incidental character of Classical, 146, 147; as actualizing of a soul, 147; impersonal and personal epochs, 148; effect of Civilization-period, 152; and happening, 153; causal harmonies, 153, 154, 158; confusion in causal method, 155-157; physiognomic investigation, 157; symbolism, 163; of styles, 205; and cultural art expression, 249, 253; and portrait, 264; and will, 308; and action, 343; cultural opposition, 386; in natural science, 389. See also Becoming; Destiny; Nature; Politics; Spirit; Time
Hobbema, Meyndert, colour, 246
Hobbes, Thomas, and actuality, 42
Hölderlin, Johann C. F., narrow Classicalism, 28n.; autumnal accent, 241; and confession, 264; lyrics, 286; and fatherland, 335
Holbein, Hans, colour, 250; contemporaries, table ii
Holy Grail legend, cultural significance, 186, 198; elements, 213
Holy Roman Empire, contemporaries, table iii
Homer, contemporaries, 27, table i; soul, 203, 305; religion, 268n.; gods, 312, 313; popularity, 328; and Classical ethics, 349
Homology, historical application, 111, 112
Horizon, and mathematics, 171; in Western landscape painting, 239, 242
Horn, Georg, and term Middle Age, 22
Horoscopes, cultural attitude, 147
Houdon, Jean A., sculpture as painting, 245
Hucbald, music, 228
Hugo van der Goes. See Goes
Huguenot wars, character, 33
Humboldt, Alexander von, Ethical Socialism, 374
Hus, John, contemporaries, table i
Hwang-Ti, contemporaries, table iii
Hygiene, as phenomenon of Civilization, 361
Hyksos Period, contemporaries, 111, tables ii, iii; feebleness, 149
Hyksos Sphinx, 108, 262
Hypsicles, as Arabian thinker, 63
Iamblichus, on statues of gods, 216; contemporaries, table i
Ibn-al-Haitan, on light, 381
Ibn Kurra, contemporaries, table i
Ibsen, Henrik, world-conception, 20; provincialism, 24, 33n.; sex problem, 35; unpopularity, 35; and practical philosophy, 45; causal effort, 156; tragic method, 318; and morale, 346; and Civilization, 352; character of Nihilism, 357; journalism, 360; nebulous aim, 363, 364; and socio-economic ethics, 372-374
Iconoclasts, Arabian principle, 262; contemporaries, table i
Idea, and destiny, 121
Idolatry, Arabian iconoclasm, 262; Classical attitude, 403
xvIliad, spatial aspect, 198
Image, cultural basis of idea, 216
Imagination, music as channel, 220
Imitation, qualities and aim, 191-194; opposition to ornament, 194-196; period in architecture, 197; in music, 228. See also Ornament
Imperialism, negative character of Roman, 36; and Civilization, 36; Western destiny, 37, 38; origin of Western, Napoleon’s relation, 148; cultural attitude, 336; cultural contemporaries, table iii
Impressionism, as space, 184; beginning, 239; Leonardo’s relation, 277; full meaning, 285-287; later plein-air, 288; in Wagner’s music, 292
Improvisation, as manifestation, 195
Incident, world, 142; and destiny, 138-144; and cause, 142; and style of existence, 142-147; as basis of Western tragedy, 143; historical use, 143. See also Destiny
India, Napoleon and, 150
Indian Culture, ahistorical basis, 11, 12, 133; anonymous philosophy, 12; mathematic, 84, 178; sex attitude, 136; attitude toward state, 137; morale, passive, 315, 341, 347; Buddhism and Civilization, 352; spiritual epochs, table i. See also Buddhism; Cultures
Indo-Iranian art period, contemporaries, table ii
Infinity, and Classical mathematic, 69; in Western Culture, 74-76, 81-84; and new notation, 76-78; limit as a relation, 86; and Western science, 418, 427. See also Depth-experience; Space
Innocent III, pope, and Western morale, 348
Inquisition, and Western faith, 410
Integral calculus. See Calculus
Intellect, and nature, 157. See also Will
Intelligence, and atheism, 409
Interregnum, Germanic, period as episode, 149
Intuition, and learning, 55, 56
Ionic, and Doric, 205; contemporaries, tables ii, iii. See also Architecture; Column
Irak, synagogue music, 228
Irrationalism, cultural attitude, 64-66, 68, 83
Isis, motherhood, 137; cult, 406, 407
Islam, analogy to Mohammed, 39; Mohammed as epoch, 149; architectural expression, 208, 209, 211; iconoclasm, 262; and home, 335; Mohammed’s unimposed mystic benefits, 344n.; Puritanism, 356; Mohammed’s contemporaries, table i; fatalism period, table i. See also Arabian Culture; Religion
Issus, battle, mosaic, 214
Italy, liberation as episode, 151; and music, 230
I-Wang, contemporaries, table iii
Jacobins, and reason and will, 308
Jacopo della Quercia, and ornament, 238
Janus, materiality, 403
Jason of Pheræ, contemporaries, table iii
Jesuitism, and Baroque architecture, 313; style in science, 412. See also Loyola
Jesus, as Son of Man, 309; and Arabian morale, 344, 347; unimposed glad tidings, 344n. See also Christianity
John, Saint, and world-history, 18n.; dualism in Gospel, 306
Journalism, as phenomenon of Civilization, 360
Judaism, architectural expression, 209, 211n.; psalmody, 228; Kabbala, dualism, 248, 307, 312; and home 335. See also Arabian Culture
Judgment, and necessity, 393
Julius II, pope, Raphael’s portrait, 272
Juppiter Feretrius, temple and oath, 406
Juppiter Optimus Maximus, cult, 406
Jurisprudence, esoteric Western, 328
Justus van Gent, in Italy, 236
Kabbala, dualism, 248, 307
Kalaam, determinism, 307
Kant, Emmanuel, and space and time, 6n., 7, 64, 122, 124-126, 143, 169, 170, 173-175; and history, 19; provincialism, 23; contemporaries, 27, table i; final Western systematic philosophy, 45, 365-367; as philosopher of Being, 49n.; and nature and mathematics, 57, 64, 68, 78, 366, 379; a priori error, 59; mechanistic world-conception, 99; and causality and destiny, 118-120, 151; and the Almighty, 124; and incident, 143; as Goethe’s opposite, 159; on knowledge of thought, 299; egoism, 310, 335; esoteric, 327; and compassion, 350, 362; and ethics, 354, 355; and materialism, 368; on judgment, 393; on force, 413
Karlstadt, Andreas R., contemporaries, table i
Karma, Buddhist interpretation, 357
Karnak, contemporaries, table ii
Katharsis, Classical, 322, 347. See also Drama
Kelvin, Lord, and æther, 418
Kepler, Johan, mathematic and religion, 71, 330;
xvi horoscope for Wallenstein, 147; deeds of science, 355; and mass, 415
Kirchhoff, Gustav R., on physics and motions, 388
Kismet, 129, 307. See also Destiny
Klein, Felix, and groups, 90
Kleist, Heinrich B. W. von, as dramatist, 290
Kleisthenes of Sikyon, tyranny, 33
Knowledge, comparative forms, 59, 60; virtue and power, 362; and feeling, 365; as naming of numina, 397
Kriemhild, and Helen, 268
Kwan-tsi, and actuality, 42
Lagrange, Comte, mathematic, 66, 78, 90; on mechanics, 124; and force, 417; contemporaries, table i
La Hale, Adam de, operetta, 229
Landscape, as Chinese prime symbol, 174, 190, 196, 203; horizon in painting, 239; Western gardening, 240; Baroque, as portrait 270n., 287; plein-air, 288, 289; and dramatic scene, 326
Lanfranc, controversy, 185
Language, of Culture, 55; word and number, 57; beginning of word-sense, 57; paired root-words, 127; personality-idea in Western, 262, 302, 309, 310, 413n.; as cultural function, 302n. See also Names; Writing
Laocoön group, theatrical note, 291; and Pre-Socratic philosophy, 305
Lao-tse, and imperialism, 37; and actuality, 42.
Laplace, Marquis Pierre de, mathematic, 78, 90; contemporaries, 112, table i; and force, 413, 417
Lasso, Orlando, style, 230
Lateran Council, and Western Christianity, 247
Latin, as Stoic creation, 361
Lavoisier, Antoine L., chemistry, 384, 426
Law, and form, 97
League of Nations, Chinese ideas, 37
Learning, and intuition, 55, 56
Legends, contemporary, table i
Legnano, battle, a symbol, 349
Leibl, Wilhelm, significance of colour, 252; portraiture, 266; and body, 271; and grand style, 289-291; etching, 290; striving, 292
Leibniz, Baron von, and actuality, 42; mathematics, metaphysics, and religion, 56, 66, 70, 126, 366, 394; relation to Classical mathematic, 69; calculus, 75, 78, 82, 84, 90; and vision, 105; and Nicholas of Cusa, 236; esoteric, 327; and mystic philosophy, 365n.; monads as quanta of action, 385; Democritus as contemporary, 386; and force, 413, 415-417; contemporaries, table i
Leipzig, battle, issue, 35
Lenbach, Franz von, copyist, 295
Leo III, pope, and iconoclasm, 262
Leochares, contemporary mathematic, 90
Leonardo da Vinci, astronomical theory, 69; spirituality, 128; Dutch influence, 236; and background, 237; and impressionism, 239, 287; and sculpture, 244; colour, 246; and body, 271; and portrait, 272; as dissatisfied thinker, 274; discovery as basis of art, 277-279; and circulation of the blood, 278; and aviation, 279; Western soul and technical limitation, 279-281; and dynamics, 414
Lessing, Gotthold E., world-conception, 20; and cultural contrasts, 128; and Aristotle’s philanthropy, 351; and cult and dogma, 411
Lessing, Karl F., colour, 252
Leucippus, atoms, 135, 385, 386
Li, contemporaries, table iii
Licinian Laws, myth, 11
Life, and soul and world, 54; duration, specific time-value, 108; duration applied to Culture, 109; Classical Culture and duration, 132; and willing, 315. See also Death
Light theories, electro-magnetic, 156n.; Newton’s, and Goethe’s theory of colour, 157n., 158n.; cultural basis, 381; contradictory, 418
Limit, as a relation, 86
Linden, as symbol, 396
Lingam. See Phallus
Ling-yan-si, Saints, 260
Lippi, Filippino, Dutch influence, 236
Literature. See Art; Drama; History; Poetry; writers by name, especially Dante; Goethe; Ibsen
Livy, on strange gods, 405
Lochner, Stephen, God-feeling, 395
Locke, John, and imperialism, 150; contemporaries, table i
Loggia dei Lanzi, artistic sentiment, 272
Logarithms, liberation, 88
Logic, organic and inorganic, 3, 117; of time and space, 7; and mathematics, convergence, 57, 427; and morale, 354. See also Causality
Logicians, contemporaries, table i
Lokoyata, contemporaries, table i
xviiLondon, culture city, 33
Loredano, doge, portrait, 272
Lorentz, Hendrik A., and Relativity, 419
Lorenzo de’ Medici, and music, 230
Lotze, Rudolf H., ethics, 367
Louis XIV, uncleanliness, 260; contemporaries, table iii
Louisiana, Napoleon’s project, 150
Loyola, Ignatius, and style of the Church, 148; architectural parallel, 314; and Western morale, 348; God-feeling, 394, 395; and method, 412
Lucca, and Arabian Culture, 216
Lucullus, L., army, 36
Ludovisi Villa, garden, 240
Lully, Raymond, music, 283
Luther, Martin, and “know”, 123; and destiny, 141; as epoch, 149; and works, 316n.; and Western morale, 348, 349, 355; God-feeling, 394, 395; contemporaries, table i
Luxor, contemporaries, table ii
Lycurgus, myth, 11
Lysander, deification, 405
Lysias, portrait, 270
Lysicrates, Monument of, acanthus motive, 215
Lysippus, contemporary mathematic, 90; sculpture, 226, 260n.; period, 284; canon, 287; straining, 291; irreligion, 358; contemporaries, table ii
Lysistratus, and portraiture, 269
Machiavellism, and mimicry, 371
Macpherson, James, autumnal accent, 241
Macrocosm, idea, 163-165; cultural and intercultural, 165; expression, 180; and style-problem, 214-216. See also History; Morphology; Nature; Symbolism; World-conceptions
Maderna, Stefano, sculpture, 244; God-feeling, 395
Madonna, in Western art, 136, 267, 280. See also Marycult; Motherhood
Madrid, culture city, 32, 109
Madrigals, character, 229
Mæcenas, park, 34
Magdeburg Cathedral, Viking Gothic, 213
Magian soul, explained, 183. See also Arabian Culture
Magnetism, Cabeo’s theory, 414
Magnitude, emancipation of Western mathematic, 74-78; and relations, 84, 86
Mahavansa, as historical work, 12
Mainz Cathedral, and styles, 205
Makart, Hans, copyist, 295
Malatestas, Hellenic sorriness, 273
Malthus, Thomas R., and Darwinism, 350, 369, 371
Manchester system, and Western Civilization, 151, 371; and Darwinism, 369
Mandæans, as Arabian, 72; music, 228; contemporaries, table i
Manet, Édouard, unpopularity, 35; and body, 271; landscapes, 288; plein-air painting, 288-290; weak style, 291; striving, 292; and Wagner, 292; irreligion, 358
Manichæanism, as Arabian, 72; architectural expression, 209, 211; music, 228; dualism, 306; and home, 335
Mankind, as abstraction, 21, 46
Mantegna, Andrea, technique, 221, 239; and colour, 242; and portrait, 271; and statics, 414
Marble, and later Western sculpture, 232, 276n.; Greek use, 248n., 253; Michelangelo’s attitude, 276. See also Stone
Marcion, and Jesus, 347; contemporaries, table i
Marcus Aurelius, and monotheistic tendency, 407
Marées, Hans, significance of colour, 252; portraiture, 266, 271, 271n., 309; and grand style, 289, 290; striving, 292
Marenzio, Luca, music, 251
Marius, C., and economic motive, 36; contemporaries, table iii
Mars Ultor, temple, ornament, 215
Marseillaise, morale, 355
Marsyas, Myron’s, lack of depth, 226
Marx, Karl, and practical philosophy, 45; and earlier and final Socialism, 138; and superficially incidental, 144; character of Nihilism, 352, 357; and Hegelianism, 367; socio-economic ethics, 372, 373; contemporaries, table i
Mary-cult, as symbol, 136; Madonna in Western art, 267, 280
Masaccio, and artistic change, 237, 279, 287
Mashetta, castle, façade, 215
ass, Western functional concept, 415; effect of quantum theory, 419
Materialism, and Goethe’s living nature, 111n.; Buddhism as, 356; in Western ethics, 368; and Socialism, 370
xviiiMathematics, spatial concept, 6n., 7; plurality, cultural basis, 15, 59-63, 67, 70, 101, 314; position, 56; and extension, 56; and nature, 57; wider-culture vision and analogy, 57, 58; beginning of number-sense, 59; as art, 61, 62, 70; vision, 61; of Classical Culture, positive, measurable numbers, 63-65, 69, 77; and time and becoming, 64, 125, 126; symbolism in Classical, 65-67, 70; religious analogy, 66, 70, 394; and empirical observation, 67; character of Arabian, 71-73; primitive levels, 73; Western, and infinite functions, 74-76; Western need of new notation, 76; as expression of world-fear, 79-81; and Western meaning of space, 81-84, 88; and proportion and function, 84; construction versus function, 85; virtuosity, 85; and physiognomic morphology, 85; Western, and limit as a relation, 86; Western abstraction, 86, 87; Western conflict with perception limitations, 87, 170, 171; culmination of Western, groups, 89, 90, 426; paradigm of Classical and Western, 90; and the how, what, and when, 126; cultural relation to art, 129, 130; Classical sculpture and Western music as, 284; impressionism, 286; vector and Baroque art, 311; esoteric Western, 328; and philosophy, 366; replacement by economics, 367; theory of aggregates, and logic, 426; cultural contemporary epochs, table i. See also Nature; Number; branches by name
Matter. See Body; Natural science
Matthew Passion. See Schütz, Heinrich
Maxwell-Hertz equations, 418
Maya Culture. See Mexican
Mayer, Julius Robert, and theory, 378; and conservation of energy, 393, 412, 417
Mazarin, Jules, Cardinal, morale, 349
Mazdaism, as Arabian, 209; architectural expression, 211; and pneuma, 216; music, 228; contemporaries, table i
Mazdak, contemporaries, table i
Meander, motive, 316, 345
Mechanics, and fourth dimension, 124. See also Motion; Natural science
Mediæval History, as term, 16, 22
Medicis, Hellenic sorriness, 273
Megalopolitanism, and Civilization of a Culture, 32-35, 38; and systematism, 102. See also Civilization
Melody, Classical and Western, 227
Memlinc, Hans, in Italy, 236; and Renaissance, 274
Memory, conception, 103; as organ of history, 132; as term, 132
Mencius, practical philosophy, 45
Mendicant Orders, as exception, 348
Menes, contemporaries, table iii
Menzel, Adolf F. E., and body, 271; impressionism, 286; and grand style, 290, 291
Merovingian-Carolingian Era, contemporary art epochs, table ii
Mesopotamia, synagogues, 210
Messenians, provided history, 11
Metaphysics, and scientific research, 154; and symbolism, 163; Western and pairs of concepts, 311; basis of Classical, 311; period in philosophy, 365-367. See also Ethics; Philosophy.
Mexican (Maya) Culture, and historical scheme, 16, 18; and time measurement, 134n.; ornament, 196; and tutelage, 213
Meyerbeer, Giacomo, Rossini on Huguenots, 293
Michelangelo, liberation of architecture, beginning of Baroque, 87, 206, 225n., 313; materiality, obsession by the architectural, 128; St. Peter’s, 206, 238; and passing of sculpture, 223, 244; anticipations, 263; and physiognomy of muscles, 264; nude, and portrait, 272; sonnets, 273; as dissatisfied thinker, 274; unsuccessful quest of the Classical, 275-277, 281; and marble, 276; architecture as final expression, 277; and popularity, 327; God-feeling, 395; contemporaries, table ii
Michelozzo, Bartolommeo di, and Classical, 415
Michelson, Albert A., experiments, 419
Middle Kingdom, contemporaries, tables i-iii
Milesians, physical theory, 386
Miletus, form-type of Didymæum, 204; and Egypt, 225
Milinda, King, and Nagasena, 356
Mill, John Stuart, and economic ascendency, 367, 373
Millennianism, as Western phenomenon, 363, 423
Mineralogy, and geology, 96
Minerva Medica, Syrian workmen, 211
Ming-Chu, contemporaries, table iii
Ming-ti, contemporaries, table iii
Minnesänger, rules, 193; imitative music, 229
Mino da Fiesole, and portrait, 272
Minoan art, character, 198; contemporaries, 241
Minstrels, imitative music, 229
Mirabeau, Comte de, and imperialism, 149; contemporaries, table iii
xixMiracles, cultural attitude toward, 392, 393
Moab, Castle of Mashetta, 215
Modern History, as irrational term, 16-18
Mörike, Eduard, poetry, 289
Mohammed. See Islam
Moissac, church ornamentation, 199
Molière, tragic method, 318
Mommsen, Theodor, on Classical historians, 11; narrow Classicalism, 28
Money, Roman conception, 33; as hall-mark of Civilization, 34-36
Monophysites, Islam as heir, 211; as alchemistic problem, 383; contemporaries, table i
Monteverde, Claudio, music, 226, 230, 249, 283
Morale, plurality, cultural basis, no conversions, 315, 345-347; Western, and activity, 315; and analysis, 341; Western moral imperative, 341, 342; intellectual and unconscious concepts, 341n.; Western purposeful motion, ethic of deed, 342-344, 347; Western Christian, 344, 348; and art, 344; morphology, 346; compassion, cultural types of manly virtue, 347-351; real and presumed, phrases and meanings, 348; Classical, and happiness, 351; instinctive and problematic, tragic and plebeian, 354, 355; end phenomena, cultural basis, 356-359; Civilization and diatribe, 359, 360; and diet, 361; qualities and aim of Socialism, 361-364; and cultural atomic theories, 386. See also Ethics; Spirit
Moravians, as exception, 348
Morphology, Spengler and historical, xi; concept of historical, 5-8, 26, 39; historical, and symbolism, 46; historical, ignored, 47; symmetry, 47; historical and natural, 48; historical, Western study of comparative, 50, 159; comparative, knowledge forms, 60; of mathematical operations, 85; systematic and physiognomic, 100, 101, 121; of world-history explained, 101; of Cultures, 104; historical homology, 111, 112; element of causal and destiny, 121; of morales, 346; of history of philosophy, 364-374; of exact sciences, 425
Mortality. See Death
Mosaic, as cultural expression, 214; and Arabian gold background, 247; eyes, 329; contemporaries, table ii
Mosque, architectural characteristics, 200, 210; contemporaries, table ii
Motherhood, cultural attitude, meaning, 136, 137; and destiny, portraiture, 267
Mo-ti, practical philosophy, 45
Motion, and fourth dimension, 124; Eleatic difficulty, 305n.; and natural science, 377, 387-391. See also Natural science
Motion pictures, and Western character, 322
Mozart, Wolfgang Amadeus, contemporary mathematic, 78, 90; period, 108, 284; orchestration, 231; colour expression, 252n.; ease, 292; contemporaries, table ii
Mummies, as symbol, 12, 13, 135
Murillo, Bartolomé, period, 283
Murtada, and will, 311
Museums, as historical symbols, 135; change in meaning of word, 136
Music, thoroughbass and geometry, 61; mathematical relation, 62, 63; of Baroque period, 78; and proportion and function, 84; bodilessness of Western, development, 97, 177, 230, 231, 283; history of instruments, 195; Western church, as architectural ornament, 196, 199; as art of form, 219, 221n.; and allegory, 219n.; as channel for imagination, 220; Classical, 223, 227, 252n.; form-ideal of Western, 225; technical contrast of Classical and Western, 227n.; word and organism, cultural basis, 227, 228; Arabian, 228; Chinese, 228; imitation and ornament, 228; ornamental and imitative Western, 229; secularization, thoroughbass, 230; of Renaissance, 234; Flemish influence in Italy, 236; and horizon in painting, 239; pastoral, and gardening, 240; esoteric Western, 243; as Western prime phenomenon, 244, 281-284; and Western painting, 250, 251; instruments and colour expression, 252; instrumental as historical expression, 255; and uncleanliness, 260n.; and portrait, 262, 266; Catholic, 268n.; Michelangelo’s tendency, 277; Western, and Classical free sculpture, 283, 284; climacteric instruments, 284; and Rococo architecture, 285; impressionism, 285, 286; and later German school of painting, 289; Wagner and death of Western, 291, 293; his impressionism, 292; and Western soul, 305; and Western concept of God, 312; and character, 314; place of organ, 396; Western contemporary natural science, 417; contemporary cultural epochs, table ii. See also Art
Muspilli, and Northern myths, 400, 423
Mutazilites, contemporaries, table i
Mycenæ, funeral customs, 135; contemporaries, tables, ii, iii
Myron, sculpture as planar art, 225, 226, 283; Discobolus, 263, 264
xxMysteries, Classical, 320. See also Religion
Mysticism, art association, 229; and dualism, 307; cultural culmination, 365n.; and concept of force, 391; contemporaries, table i
Myth, natural science as, 378, 387
Mythology, significance in Classical Culture, 10, 11, 13; origin, 57. See also Religion
Nagasena, materialism, 356
Names, as overcoming fear, 123; concretion of numina, 397
Napoleon I, analogies, 4, 5; romantic, 38; imperialism, 42, 149-151; as destiny and epoch, 142, 144, 149; egoism, 336; morale, 349; and toil for future, 363; contemporaries, table iii
Nardini, Pietro, orchestration, 231
Natural science, mechanics and motion, cultural basis of postulate, 377, 378; fact and theory, cultural images, 378-380; Western, and depth-experience, tension, 380, 386, 387; and religion, cultural basis, 380-382, 391, 411, 412, 416; scientific period of a Culture, 381; cultural relativity, 382; cultural nature ideas and elements, 382-384; statics, chemistry, dynamics, cultural systems, 384; cultural atomic theories, 384-387; thinking-motion problem, system and life, 387-389; mechanical and organic necessity, 391; cultural attitude on mechanical necessity, 392-394; things and relations, 393; conservation of energy and Western concept of experience, 393; theory and religion, Western God-feeling, 395; naming of notions, 397; and atheism, 409; Western dogma of undefinable force, provenance, stages, 412-417; as to Western statics, 414, 415; mass concept of Civilization, work-idea, 416, 417; disintegration of exact, contradictions, 417-420; physiognomic effect of irreversibility theory, 420-424; effect of radioactivity, 423; decay, 424; morphology, convergence of separate sciences, 425-427; anthropomorphic return, 427. See also Nature
Natural selection, and Western ethics, Superman, 371. See also Darwinism
Naturalism, antiquity, 33, 207, 288; in art, 192
Nature, contrast of historical morphology, 5, 7, 8; definite sense, and history, 55, 57, 94-98, 102, 103; and learning, 56; mathematics as expression, 57; as late world-form, 98; mechanistic world-conception, 99, 100; systematic morphology, 100; and causality and destiny, 119, 121, 142; cultural viewpoints, 131, 263; timelessness, 142, 158; historical overlapping, living harmonies, 153, 154, 158; and intellect, 157; personal connotations, 169; soul as counter-world, 301; and reason, 308. See also Causality; History; Mathematics; Natural science; Space; Spirit
Naumann, Johann C., architecture, 285
Nazzâm, on body, 248; contemporaries, table i
Necessity, mechanical and organic, 391
Nemesis, character of Classical, 129, 320. See also Destiny
Neo-Platonists, as Arabian, 72; and pneuma, 216; and body, 248; dualism, 306; unimposed mystic benefits, 344n.
Neo-Pythagoreans, and body, 248; and mechanical necessity, 393
Nerva, forum, 198, 215
Nestorianism, and art, 209, 211; music, 228; and home, 334; as alchemistic problem, 383; contemporaries, table i
Neumann, Karl J., on Roman myths, 11
New York City, and megalopolitanism, 33
Newton, Sir Isaac, and “fluxions”, 15n.; artist-nature, 61; mathematic and religion, 70, 396, 412; mathematical discoveries, 75, 78, 90; and time and space, 124, 126; light theory, and Goethe’s theory, 157n., 158n., 422; dynamic world-picture, 311; deeds of science, 355; and motion-problem, 390, 391; and metaphysics, 366; and force and mass, 415, 417; contemporaries, table i
Nibelungenlied, and Homer, 27; esoteric, 328; and Western Christianity, 400-402
Nicæa, Council of, and Godhead, 249
Nicholas of Cusa, astronomical theory, 69; religion and mathematic, 70; musical association, 236; contemporaries, table i
Nicholas of Oresme, and beginning of Western mathematic, 73, 74, 279; art association, 229; Occamist, 381
Niese, Benedictus, on Roman myths, 11
Nietzsche, Friedrich Wilhelm, influence on Spengler, xiv, 49n.; provincialism, 24; Classical ideology, 28, 28n.; on city life, 30; unpopularity, 35; practical philosophy, 45; and historical unity, 48; and detachment, 93; and Wagner, 111, 291, 370; on history and definition, 158; on art witnesses, 191; autumnal accent, 241; on Greeks and colour, 245; on “brown” music, 252; on Greeks and body, 260; will and reason, 308; and morale, 315, 342, 346; and home, 335; actuality of “Mann”, 347, 350; and Civilization, 352; character of Nihilism, 357; and diet, 361; nebulous aim, 363, 364; and mystic philosophy, 365n.; and mathematics, 366; ethics and metaphysics, 367;
xxi materialism, 368; and evolution and Socialism, 370-372; position in Western ethics, 373, 374; on pathos of distance, 386; dynamic atheism, 409; contemporaries, table i
Niflheim, lack of materiality, 403
Nihilism, and finale of a Culture, 352; cultural manifestations, 357
Nirvana, ahistoric expression, 11, 133; and zero, 178; conception, 347, 357, 361. See also Buddhism
Nisibis, and Arabian art, 209
Northmen, discoveries, 330
Norwich Cathedral, simplicity, 196
Notre-Dame, Madonna of the St. Anne, 263
Nude, in Classical art, necessity, 130, 260-262, 317; cultural basis of feeling, 216, 270, 272; as element of Classical Culture only, 225
Nürnberg, loss of prestige, 33; church statuary, 103; church and styles, 205; as religious, 358
Numa, cult, 185; contemporaries, table i
Number, chronological and mathematical, 6, 7, 70, 97; defined, 67; numbers and mortality, 70; Arabian indeterminate, 72; Western Culture and functional, 74, 75, 90; Western attitude and notation, 76, 332n.; symbolism, 82, 165; astronomical, 83, 332n.; cultural attitudes, 88; and the become, 95; and numbering, 125; Indian conception, 178; functional, and causality, 393. See also Mathematics
Numina, naming, 397. See also Religion
Nyaya, contemporaries, table i
Oak, as symbol, 396
Occamists, physical theory, 381, 389
Odysseus, as enduring, 203
Okeghem, Joannes, music, 130; and popularity, 243
Oken, Lorenz, and dualism, 307
Old Kingdom, and care, 137; contemporaries, tables ii, iii
Old Nordic art, as Arabian, 215
Ommayad period, homology, 111
Opera, and orchestra, 230
Oracle, Classical, 147
Oratorio, and orchestra, 230
Orchomenos, funeral customs, 135
Oreads, passivity, 336
Oresme. See Nicholas of Oresme
Organ, and Western devotions, 396
Origen, and dualism, 306; morale, 348; contemporaries, table i
Ormuzd, Persian God, 312
Ornament, qualities and aim, 191-194; opposition to imitation, 194-196; building and its symbolic decoration, 196; pictorial period, 197; and Civilization, 197, 294; in music, 228, 230, 231; Renaissance, 233n., 238. See also Decoration; Imitation
Otto the Great, egoism, 336
Owen, Sir Richard, and morphology, 111
Pachelbel, Johann, organ works, 220
Pacher, Michael, colour, 250
Paderborn Cathedral, simplicity, 196
Pæonius, Nike, 263; period, 284
Pæstum, temple, 224, 235
Painting, perspective and geometry, 61; allegorical, 219n.; and form-ideal of Classical sculpture and Western music, 226, 232; word and organism, 227; Flemish influence in Italy, 236; Renaissance fresco to Venetian oil, line to space, 237, 279-281; development of background in Western, 239; form and content, outline and colour, 242; cultural expression and popularity, 243; oil, as Western prime phenomenon, period, 244, 281-283; Classical and Western colours, 245-247; outdoor and indoor, 247; symbolism in brushwork, 249; of Western Civilization, 251; Baroque portraits, 265; and destiny of Western art, 276n.; Leonardo and discovery, spiritual space, 277-280; Western studio-brown, pictorial chromatics, 250, 288; Classical limitation, 283, 287; full meaning of Impressionism, 285-287; 19th Century episode, plein-air, 288; German school and grand style, 289; Baroque and concept of vector, 311; and time of day, 325; Western, and spectator, 329; Western, and contemporary natural science, 417; contemporary cultural epochs, table ii. See also Art; Portraiture
Palazzo Farnese, style, 205; Michelangelo’s cornice, 275
Palazzo Strozzi, style, 234; and artistic sentiment, 272
Palermo, and Arabian Culture, 211, 216
Palestrina, Giovanni da, style, 220, 230, 323; and popularity, 243; Michelangelo’s heir, 274, 277; God-feeling, 395
Palladio, Andrea, style, 30, 414
Palma, Jacopo, colour, 252
Pan, idea, 403
Panama Canal, Goethe’s prophecy, 42
“Panem et circenses”, as symbol, 362
Pantheon, as mosque, 72, 211
xxiiPaolo Veronese, clouds, 240; colour, 252
Papacy, contemporaries, table iii
Paracelsus, Philippus, and chemistry, 384
Paris, and Athens, 27; culture city, 33; autumnal city, 79; Flemish influence, 236n.; as irreligious, 358
Paris, Peace of (1763), and imperialism, 150
Park. See Gardening
Parmenides, civic world-outlook, 33; thinking and being, 387
Parthenon, Three Fates as type, 268; horse’s head, Rubens contrast, 271; popularity, 327
Pascal, Blaise, and actuality, 42; faith and experience, 66, 394; mathematic, and Archimedes, 69, 75, 90, 126; and predestination, 141; and Jansenists, 314n.; and Western morale, 348; contemporaries, table i
Past, and passing, 166
Pastels, and music, 232
Paterculus, C. Velleius, view of art, 205
Path. See Way
Patina, symbolism, 253
Patriotism, cultural concept, 334-337
Patristic literature, contemporaries, table i
Paul, Saint, and world-history, 18n.; and dualism, 306; and will, 344; and diatribe, 360; error on “Unknown God”, 404
Paulicians, and art, 209, 211; iconoclasm, 262; contemporaries, table i
Pazzi, chapel, 313
Peasant, as Culture relic, 354
Peloponnesian War, as epoch, 149
Pepi. See Phiops
Perception, and “alien”, 53; Western transcendency, 87-89; space and time as forms, 169-171, 173
Percival, archetype, 402
Pergamene art, modernity, 111; composition, 244, 260; gigantomachia, 291, 352; actuality, 364; contemporaries, table ii
Peripatos, contemporaries, table i
Persians, architectural expression, 209; and home, 335; contemporary art periods, table ii. See also Arabian Culture
Perspective, Classical attitude, 109; Western painting and gardening, 240-242; as soul-expression, 310n.; Western, and astronomy, 330
Perugino, technique, 249; and portraiture, 272; and artistic change, 279; simplicity, 280
Pessimism, and Spengler’s theories, xiv, 40
Peterborough Cathedral, simplicity, 196
Petra, Baal, 407
Petrarch, Francesco, analogy, 4; historic consciousness, 14; narrow Classicalism, 29, 275
Petrinism, Tolstoi’s connection, 309
Phallus, as symbol, cult, 136, 267, 320
Phidias, contemporary mathematic, 78, 90; and portraiture, 130n.; and soulless body, 225, 267; popularity, 243; and self-criticism, 264; and marble, 276; and Handel, 284; period, 284; as religious, 358; contemporaries, table ii
Philanthropy, Aristotle’s, 351
Philo, and body, 248; and Jesus, 347
Philosopher’s Stone, as symbol, 248, 307
Philosophy, truth and individual attitude, xv; natural and historical, 7, 8; anonymous Indian, 12; provincialism, 22, 23; epochal limitations, cultural boundaries, 41, 46, 364, 367; test of value, actuality, 41-43; present-day Western, and cultural destiny, 43-45; development of Western practical, 45; scepticism as final Western, 45, 374; of becoming and become, 49n.; and mathematics, 56, 64, 366; Kant’s postulates, 59; comparative forms of knowledge, 60; and names, 123; scientific, of time, 124; tabulation of categories, 125; and death, 166; Western art association, 229; of Culture and Civilization, 354, 355; cultural questions, early posing, 364; course within each Culture, 364; metaphysical and ethical periods, 365-367. See also Ethics; Metaphysics; Spirit
Phlogiston theory, Stahl’s, 384
Phœnicians, and discovery, 65, 333
Phrynichus, fine, 321
Physics, cautious hypotheses, 156; Jesuits and theoretical, 314n.; and popularity, cultural basis, 327, 328. See also Natural science
Physiognomy. See Destiny; Portraiture
Picturesqueness, and historical expression, 255
Piero della Francesca. See Francesca
Pigalle, Jean B., sculpture, 244
Pindar, as religious, 358
Pine, as symbol, 396
Piombo, Sebastiano del. See Sebastiano
xxiiiPiræus, and unknown gods, 404
Pisano, Giovanni. See Giovanni
Pisistratidæ, as period of fulfilment, 107
Planck, Max, atomic theory, 385, 419
Plane, significance in Egyptian architecture, 189
Plastic. See Sculpture
Plato, ahistoric consciousness, 9, 14; and clepsydra, 15; provincialism, 22; and actuality, 42; philosopher of the becoming, 49n.; metaphysics and mathematics, 56, 67, 69, 71, 84, 90, 366; and the irrational, 66; and Goethe’s “mothers”, 70; and mechanistic world-conception, 99; foreshadowing by, 111; and the Almighty, 124; Kant on, 125; as Aristotle’s opposite, 159; anamnesis, 174; and idolatry 268n.; on soul, 304, 305; and ego, 311; and ethics, 354; and mystic philosophy, 365n.; and science and religion, 394; contemporaries, table i
Plein-air, as Civilization painting, 252; characterized, 288
Plotinus, world, 56; and philosophical transition, 72; and vision, 96; homology, 111; and body, 248; and dualism, 306; and Jesus, 347; and Arabian Culture, 383; and mechanical necessity, 393; contemporaries, table i
Plutarch, as biographer, 14, 316; and dualism, 306
Pneuma, as Arabian principle, 216, 329; and eyes in Arabian art, 329. See also Dualism
Pöppelmann, Daniel, architecture, 285
Poetry, infinite space in Western, 185; Western, as confession, 264, 273; Western and Classical lyric, 286, 324. See also Drama; Literature
Point, and Western geometry, 74, 82, 89
Point de vue, in Rococo parks, 240
Polar discovery, as symbol, 335
Polis, as Classical symbol, 83, 147, 334
Politics, inadequate basis for historical deductions, 46; under Classical Culture, 83, 147, 334; meaning of the state, 137; spatial aspect of Western, 198; origin of Arabian state, 212; Renaissance attitude, 273; cultural conception, 334-337; and atomic theories, 386; contemporary cultural epochs, table iii. See also Imperialism; Philosophy; Socialism
Pollaiuolo, Antonio, Dutch influence, 236; goldsmith, 237
Polybius, ahistoric consciousness, 10
Polycletus, contemporary Western music, 27,112, 177, 284; contemporary mathematic, 78; sculpture, canon, 177, 225, 226, 231, 260n., 283, 284; present-day appeal, 255; and self-criticism, 264; and statue of Augustus, 295; and fresco, 321
Polycrates, contemporaries, table iii
Polygnotus, contemporaries, 112, table ii; frescoes, background, colour, 147, 183, 221, 243, 245, 283, 330
Pombaditha, academy, 381
Pompeii, wall-paintings, 287
Pompey the Great, army, 36
Pope, Alexander, type, 254
Popularity, cultural basis, 85, 243, 326-328, 362; in colour, 246
Porcelain, and Western music, 231
Port Royal, contemporaries, table i. See also Jansenism
Porta, Baccio della. See Bartolommeo
Porta, Giacomo della. See Giacomo
Portinari altar, 236
Portraiture, and biography, 12; character of Classical, nude sculpture, 13, 260, 261, 264, 265, 269, 272; cultural basis and expression, character and attitude, 101, 104, 216, 260, 317; portrait as Western expression, 130, 261-266; and Arabian Culture, 223; and Gothic, 261, 266; and confession, 264; contrast of act and portrait, 262, 266, 270, 271; depth-experience, impressionism, 266, 287; child and group portraits, motherhood, 266-268; Renaissance, 271-273; Leonardo’s relation, 281; landscape as, 270n., 287; Roman statues, 295; and will, 309; American, as irreligious, 358n. See also Soul
Portuguese, and discovery, 333
Poseidon, temple of, as model, 224
Posidonius, and dualism, 306; as collector, 425
Potsdam, architecture, 207
Poussin, Nicolas, musical analogy, 220; colour, 246; period, 283
Prag, loss of prestige, 33
Praxiteles, contemporary mathematic, 90; sculpture, 226, 270; Hermes, 264; and womanhood, 268; and Haydn, 284; period, 284; ease, 291
Predestination. See Destiny
Present, and becoming, 54; significance in Classical Culture, 63, 65-67
Pre-Socratics, philosophy, 41, 175, 305; and mathematics, 366; contemporaries, table i
Prime phenomena, Goethe’s living nature, vii, 95, 96, 105, 111n., 113, 140, 154, 389; in history, 105; and destiny, 121; of Western Culture, 244. See also Symbols
xxivPrinciple, and causality, 121
Proclus, and Jesus, 347
Procopius, courtier, 207
Progress, as phenomenon of Civilization, 352, 361
Prohibition, and Civilization, 361
Proper, and alien, 53
Proportion, and function, 84
Propylæa, popularity, 327
Protagoras, conception of man, 311, 392; popularity, 327; and Classical morale, 351; and Stoicism, 356; problem, 365; condemnation, 411
Protestantism, colour symbolism, 250; of etching, 290; and works, 316n.; as symbol, 343. See also Reformation.
Proud’hon, Pierre Joseph, position in Western ethics, 373
Providence, and destiny, 141
Provinces, defined, 33
Provincialism, philosophical and historical, 22-25
Psalmody, Jewish, 228
Pseudomorphosis, Late-Classical style, 209-212, 214; and image, 216; music, 228
Psychologists, period, contemporaries, table i
Psychology, “scientific”, and soul, 299-303, 313; as counter-physics, 301; and will and soma, 319
Ptolemy II Philadelphus, and ruler-cult, 405
Puget, Pierre, sculpture, 244
Purcell, Henry, pictorial music, 283
Pure reason, and destiny, 120
Puritanism, as common cultural feature, 112; and destiny, 141; and imperialism, 148; cultural contemporary epochs, table i
Putto, as art motive, 266
Pygmalion and Galatea, and marble, 276
Pyrrho, contemporaries, table i
Pyrrhus, Roman war, 36
Pythagoras and Pythagoreans, analogy, 39; and actuality, 42; mathematical vision, 57, 58; and Classical mathematic, 61, 62, 64; new number, and fate, 65n., 82, 90; mathematic and religion, 70, 394; contemporaries, 112, table i; and Copernicus, 330; and mystic philosophy, 365n.; and metaphysics, 366
Quadratures, and Archimedes’ method, 69
Quantum theory, effect, 419
Quattrocento, and Gothic, 221. See also Renaissance
Quercia, Jacopo della. See Jacopo
Quesnay, François, economic theory, 417
Race-suicide, as phenomenon of Civilization, 359
Radioactivity, effect on natural science, 423
Ragnarök, Muspilli as contemporary, 400; and world’s end, 400
Rameses II, analogy, 39; and artistic impotence, 44, 294; contemporaries, table iii
Ranke, Leopold von, and analogy, 4, 5; and historical tact, 22; on historical vision, 96
Raphael Sanzio, Madonnas, 136, 268, 280; technique, 221, 278; and Titian, 227; and background, 237; popularity, 243; colour, 245; and confession, 264; and portrait, 272; as dissatisfied thinker, 274; and fresco and oil, line and space, 279, 280
Raskolnikov. See Dostoevsky
Ravenna, and Arabian Culture, 206, 211, 216, 235; mosaics, 221, 247, 329
Reason, and will, 308
Red, symbolism, 246
Reformation, conflicts in Germany, 33; and Dionysiac movement, 111; as common cultural epoch, 112; class-opposition to Renaissance, 229; contemporaries, table i
Reims Cathedral, 224; statuary, 267
Relations, and magnitudes, 84, 86
Relief, Egyptian, 189, 202; and Classical round sculpture, 225. See also Sculpture
Religion, reality of Classical, 10, 11, 13; relation of clock and bell, 15n., 134n.; and number, 56; mathematical cultural analogy, 66, 70; stage in a Culture, 108, 399-402; second period, sequel to Civilization, 108, 424-428; Western, and “memory”, 132n.; and death, 166; birth of Western soul, 167; and early art periods, 185; cultural expression, 185-188, 399, 401; Egyptian, 188; Chinese, 190; and imitation, 191; architecture as ornament, 195; Russian, 201n.; Arabian architecture, 208; Classical, and art, 268; and plein-air painting, 288n.; revelation and dualism, 307; cultural soul-elements, and deities, 312; and Classical drama, 320; and astronomy, 330; relation to Civilization, 358;
xxv and hygiene, 361; and philosophy, 365; and natural science, 380-382, 391, 411, 416; Western experience and faith, 394; varieties, 394; and theory, 395; God-feelings, 395; depth-experience in Western, cathedral, organ, 395-397; naming of numina, 397; Classical bodied pantheon, 398, 402; Western deity as force, unitary-space symbol, 398, 403, 413; of primitive folk, 399; elements of Western, 399-401; Classical, and strange gods, 404; late Classical, dislocation and monotheism, Arabian ascendency, 406-408; cult of deified men, 405, 407, 411; atheism as phenomenon, 408-411; cult and dogma, cultural attitude, 410, 411; contemporary cultural epochs, table i. See also Death; Soul; Spirit; creeds and sects by name
Rembrandt, portraiture, and confession, 101, 103, 130, 140, 264, 266, 269, 281, 300; contemporaries, 112, table ii; inwardness, colour, 183, 251-253; etchings, nights, 187, 246, 290; musical counterpart, 220; and horizon, 239; esoteric, 243; depth, 244; and body, 271; period, 283; impressionism, 287, 288; and psychology, 319
Renaissance, contemporaries, 27, table ii; mathematic, 71; relation to Classical, as revolt, illusion, 28n., 132n., 232-234, 237, 238, 252, 266, 272-274, 279, 323; homology, 111; and beautiful, 194; and Western style, 202, 205, 206, 221, 223, 225, 244; and Arabian and Gothic, 212, 234-238; and polychrome sculpture, 226; class-opposition to Reformation, 229; ornament, 233n., 238; façades and courtyards, 235; arch and column, 236; park, 241; and popularity, 243, 328; and patina, 253; and child-figures, 266; and portrait, 271-273; and spiritual development, 273; leaders as dissatisfied thinkers, 274, 281; Michelangelo, 275-277, 281; Raphael, 279, 280; Leonardo, 277-281; and background, 237; and statics, 414
Renoir, Pierre A., striving, 292
Resaïna, academy, 381
Research, and vision, 95, 96, 102, 105, 142; historical and scientific data, 154; metaphysical, 163
Restorations, Western attitude toward, 254
Rhodes, Cecil, analogy, 4; and imperialism, 37, 38; morale, 349, 351
Rhodes, as “Venice of Antiquity”, 49; and Helios, 402
Richelieu, Cardinal, morale, 349; contemporaries, table iii
Riegl, Alois, on Arabian art, 208, 215
Riemann, Georg F. B., artist-nature, 61; relation to Archimedes, 69; religion and mathematic, 70; notation, 77; and boundlessness, 88; mathematical position, 90; goal of analysis, 418; contemporaries, table i
Riemenschneider, Tilmann, and portraiture, 270
Robespierre, Maximilien, adventurer, 149; contemporaries, table iii
Rococo, as stage of style, 202; architecture and music, 231, 232, 285; parks, 240; contemporaries, table ii. See also Baroque
Rodin, Auguste, sculpture as painting, 244, 245
Rogier van der Weyden, in Italy, 236
Roman Catholicism, colour symbolism, 247-249; and music, 268n.; monasticism, 316n., 343, 348; esoteric dogma, 328; prelates and manly virtue, 349. See also Christianity; Jesuitism
Rome, city, megalopolitanism, 32, 34
Rome, empire, and Classical Culture, 8; imperialism, 36-38, 336; and Arabian Culture, 72, 207, 208; army and citizenship, 325; emperor-worship, 405, 407, 411; and toleration, 411. See also Classical Culture
Rondanini Madonna, as music, 277
Rondeau, origin, 229
Roof, as Arabian expression, 210
Rore, Cyprian de, in Italy, 236; music, 251, 252
Rossellino, Antonio, and portrait, 272
Rottmann, Karl, and grand style, 289
Rousseau, Jean Jacques, and naturalism, 33, 207, 288; and superficially incidental, 144; and imperialism, 149, 150; autumnal accent, 207; and Civilization, 352; contemporaries, 353n., table i; and compassion, 362; and Darwinism, 369; intellect and wisdomwisdom, 409
Ruins, as Western expression, 254
Ruler-cult, 405, 411
Runge, Otto P., and grand style, 289
Russia, and the West, 16n.; stage of art, 201; architecture, 211; ignored art, 223; will-less soul, 309; culture and charity, 350
Rutherford, Sir Ernest, atoms as quanta of action, 385, 419
Ruysdael, Jakob, colour, 246; period, 283
xxviSabæans, and early Christian designs, 22n., 209n.; temple-form, 210n.; art, 223; art contemporaries, table ii
Sahu-rê, pyramid, 203
St. Denis, royal tombs, 261, 264
St. Lorenz Church, Nürnberg, and styles, 205
St. Mark, Venice, origins, 211
St. Patroclus, Soest, arcade-porch, 205
St. Peter’s, Rome, as Baroque, 206, 238
St Pierre et St Paul, Moissac, ornamentation, 199
St. Priscilla, catacombs, paintings, 137
St. Vitale, Ravenna, characteristics, 200
Sainte-Chapelle, Paris, boundlessness, 199
Saints, contemporary legends, 400, table i
Salamanca, loss of prestige, 33
Salvation Army, as exception, 348
Samarra, contemporaries, table ii
Sangallo, Antonio da, Palazzo Farnese façade, 275
Sant’ Andrea, Pistora, Pisano’s Sibyls, 263
Santa Maria Novella, Florence, style, 234; Flemish paintings, 236
Sassanids, and Arabian state, 212; art 223; music, 228
Satyrs, materiality, 403
Savonarola, Girolamo, and art tendencies, 233; and Renaissance, 328; and Western morale, 348; contemporaries, table i
Scene, dramatic, cultural basis, 325
Scepticism, as last stage of Western philosophy, 45, 374
Schelling, Friedrich von, and dualism, 307; esoteric, 369; contemporaries, table i
Schiller, Johann C. F., tragic form, 147; banality, 155
Schirazi, and dualism, 307
Schlüter, Andreas, architecture, 244, 245, 285
Schöngauer, Martin, colour, 250
Scholasticism, art association, 229; will and reason, 305; and dualism, 307; cultural culmination, 365n.; contemporaries, table i
Schopenhauer, Arthur, and history, 7, 29, 97n.; provincialism, 23, 24; practical philosophy, 45, 368; and mathematics, 67, 125, 366; will, and reason, 308, 342; and Civilization, 352; and ethics, 354, 373; pessimism and system, 366, 370; and critique of society, 367; and Darwinism, 369, 372, 373; contemporaries, table i
Schroeter, Manfred, on criticism of Spengler, x
Schütz, Heinrich, Matthew Passion, 199, 244; and imagination, 220; pictorial music, 283; God-feeling, 395
Science, of history, 153, 154; esoteric Western, 328. See also Art; Mathematics; Natural science; Nature
Scipio, P. Cornelius, and economic organization, 138; contemporaries, table iii
Scopas, and self-criticism, 264; and body, 270; period, 284
Scott, Sir Walter, as historian, 96
Sculpture, and proportion and function, 84; Classical, as become, 97; cultural basis, 216, 225; form-ideal of Classical, picture-origin, 225; polychrome, 226; music-origin of Rococo, 231; Gothic, 231, 261; use of marble, 232, 249n., 253, 276; Renaissance, 235, 237, 238, 253; position in Western Culture, 244; Egyptian, polish, 248n., 266; bronze, 253, 276; Classical expression of body as soul, 260, 261, 305; Michelangelo’s attitude, 275-277, 281; free Classical, and Western music, 283, 284; Classical, and time of day, 325; Classical, and spectator, 329; contemporary cultural periods, table ii. See also Art; Portraiture
Sebastiano del Piombo, and Raphael, 272
Second religiousness, period in a Culture, xi, 108, 424-428; of Rome, 306
Seleucus, astronomical theory, 68
Seljuk art, contemporaries, table ii
Semper, Gottfried, on style, 221
Seneca, L. Annæus, Stoicism and income, 33; and Baroque drama, 317
Sentinum, battle, 151
Septimius Severus, favourite god, 406
Serapis, cult, 406
Serenus, as Arabian thinker, 63
Servius Tullius, myth, 11
Sesostris, court, 81; as name, 206; autumn of Culture, 207
Sethos I, contemporaries, table iii
Sex, naturalism, 24, 33, 207, 288; problem of Civilization, 35; cultural attitude, 136; historical aspects, 137
Sforzas, Hellenic sorriness, 273
Shaftesbury, Earl of, and imperialism, 150
Shakespeare, William, tragic form and method, vision, 129, 130, 141n., 142, 143, 220, 319; Bacon controversy, 135n.; and motive, 156;
xxvii as dramatist of the incidental, 142, 146; and historical material, 255; and Classical drama, 323; and time of day, 324; scenes, 325; God-feeling, 330, 395; ethical passion, 347, 355; and evolution, 370
Shang Period, contemporaries, table iii
Shaw, George Bernard, sex problem, 35; and history, 255n.; and morale, 346, 368, 369, 373, 374; superman, 350; and diet, 361; on Schopenhauer, 367; and Socialism and Darwinism, 371, 372
Siegfried, archtype, 402; contemporaries, table i
Siena, and counter-Renaissance, 234; school, 268
Signorelli, Luca de’, and Classicism, 221; and body and colour, 239, 242, 278; act and portrait, 270, 271; and statics, 414
Simone Martini, and Gothic, 235
Sistine Chapel, Michelangelo’s frescos, 263, 275, 395
Sistine Madonna, 268, 280
Six Classical Systems, contemporaries, table i
Skyscraper, and gigantomachia, 291
Sluter, Klaus, sculpture, 263
Smith, Adam, economic theory, 417
Soaring, as Western term, 397
Socialism, and Civilization, 32; and Darwinism, 35, 370-372; and economic motives, 36, 355; and imperialism, 37; Frederick William I’s practice, 138; ethical, defined, esoteric, 328n., 342, 347, 351, 355, 374; scientific basis of ideas, 353; as end-phenomenon, 356, 357; and contemporaries, immaturity, 357, 358, 361; irreligion, 359, 409; necessity, 361; dynamic qualities, and compassion, 361; and work, 362; and future, 363; tragedy of nebulous aim, 363; and lie of life, 364; and political economy, 367; contemporaries, table i
Sociology, biological, 155; and Western ethics, 367, 368
Socrates, ahistoric consciousness, 14; ethic, 347; and Civilization, 352; and Stoicism, 353n.; intellect and wisdom 409; condemnation, 410; contemporaries, table i
Soest, church, 205
Sonata, movement, 231
Sophocles, ahistoric consciousness, 9; tragic form and method, 129, 130, 141n., 143, 146, 318, 321, 330, 386; statue, 269; deification, 405
Soul, and world and life, 54; mathematic expression, 101; of Cultures, inner image, 106, 303; and predestination, 117; individual, and macrocosm, 165, 259; cultural designations and attributes, 183; man as phenomenon, cultural expression, 259; Classical “body” expression, 259-261; Western expression in portrait, 261-266; knowledge and faith, 299, 300; as image of counter-world, 300; and “exact” science, 301, 302, 313; culture-language, 302; cultural basis of systematic psychology, 303, 304, 307, 313, 314; Classical static and Western dynamic, 304, 305; Arabian dualism, 305; will and reason, outer world parallels, 308; Western will-culture, egoism, 308-312, 314; and cultural religious concepts, 312, 358; cultural basis of morale, 315; dynamic, and biography, 315, 316; Classical gesture, beauty, 316; and cultural forms of tragedy, 317-326; popularity, cultural basis, 326-329; cultural relation to universe, 330-332; and to discovery, 332-337; and brain, 367. See also Morale; Portraiture; Spirit
Space, and natural morphology, 6, 7; and the become, 56; relation to Classical and Western Cultures, 64, 81-84, 88; world-fear and creative expression, 79-81; multi-dimensional, symbolism, 88, 89, 165; direction and extension, 99, 172; and causality and destiny, 119, 120; awareness, 122; and scientific time, 124, 125; time as counter-concept, 126, 170, 172; and death, 166; world-experience and depth, 168, 169, 172; perception or comprehension, 169-172; cultural symbolism in depth-experience, 173-175; cultural prime symbols, 174-178, 337; Classical use of term, 175n.; cultural basis of concepts, 179, 310; and architectural and religious expression of Culture, 183-188, 198-200; Egyptian and Chinese experiencing, 189-191, 201-203; Western arts and prime phenomenon, 281, 282; extension and reason, 308. See also Become; Causality; Depth-experience; Nature; Time