DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68796#0014
Contents
PART I
CHAPTER II
THE FESTIVAL, IN ITS RELATION TO THE FORM AND SPIRIT OF
CLASSICAL ART
§§ 23. The Festival creates the artist—24. The festal Dance among
savages—25. and among modern and ancient Greeks—26. Char-
• acteristics of the ancient Dance as a form of Art—27. Influence
of the Dance on Sculpture — 28. The mimic Dances — 29.
Effect of the mimic Dances upon Sculpture and Painting—30.
Evolution of the Drama from the mimic Dance—31. Slight influ-
ence of the Drama on Sculpture—32. Early Sculpture in its
relation to the Festival—33. Mature Sculpture also in Greece the
expression of popular ideals—34. Fundamental characteristics of
Hellenic Art—35. The underlying idea of Greek Sculpture—Hellas
in opposition to the non-Hellenic—-36. ' Hellas,’ in the celestial,
the legendary, the historical spheres—37. Ideal representation in
Art of the contests of Hellas against the non-Hellenic—38. Con-
centration of the interest of these contests in typical Protagonists
—39. The Types peopling the Hellenic world—40. The Olympian
Pantheon—41. The characterisation in Sculpture of the Types-
42. Maintenance of the essential character of the Types through
variations—43. Flexibility of the Types in the hands of the Sculp-
tors—44. Winckelmann on the Classical Ideal—45. True meaning
of ‘ Ideal ’ in connection with Greek Art—46. Supremacy of the
Greek sculptors—47. Sculpture the expression of the Greek moral
idea .... ..... Pages 41-70
CHAPTER III
MEDIAEVAL FLORENCE AND HER PAINTERS
S§ 48. Survival of the Festival in early Christian times—49. and of its
influence in stimulating Art—50. How Christian Painting began-
51. The Florentines as representing mediaeval culture and art-
52. The Florentine pageant and mystery-play—53. Effect of these
on Art—54. Rehearsal of artistic subjects in the pageants—55.
The artist studies from the pageants—56. Characteristic illustra-
tions of the Florentine pageants—57. Dramatisation of the scenes
of the Passion of Christ—58. The religious and secular ‘ Triumphs ’
PART I
CHAPTER II
THE FESTIVAL, IN ITS RELATION TO THE FORM AND SPIRIT OF
CLASSICAL ART
§§ 23. The Festival creates the artist—24. The festal Dance among
savages—25. and among modern and ancient Greeks—26. Char-
• acteristics of the ancient Dance as a form of Art—27. Influence
of the Dance on Sculpture — 28. The mimic Dances — 29.
Effect of the mimic Dances upon Sculpture and Painting—30.
Evolution of the Drama from the mimic Dance—31. Slight influ-
ence of the Drama on Sculpture—32. Early Sculpture in its
relation to the Festival—33. Mature Sculpture also in Greece the
expression of popular ideals—34. Fundamental characteristics of
Hellenic Art—35. The underlying idea of Greek Sculpture—Hellas
in opposition to the non-Hellenic—-36. ' Hellas,’ in the celestial,
the legendary, the historical spheres—37. Ideal representation in
Art of the contests of Hellas against the non-Hellenic—38. Con-
centration of the interest of these contests in typical Protagonists
—39. The Types peopling the Hellenic world—40. The Olympian
Pantheon—41. The characterisation in Sculpture of the Types-
42. Maintenance of the essential character of the Types through
variations—43. Flexibility of the Types in the hands of the Sculp-
tors—44. Winckelmann on the Classical Ideal—45. True meaning
of ‘ Ideal ’ in connection with Greek Art—46. Supremacy of the
Greek sculptors—47. Sculpture the expression of the Greek moral
idea .... ..... Pages 41-70
CHAPTER III
MEDIAEVAL FLORENCE AND HER PAINTERS
S§ 48. Survival of the Festival in early Christian times—49. and of its
influence in stimulating Art—50. How Christian Painting began-
51. The Florentines as representing mediaeval culture and art-
52. The Florentine pageant and mystery-play—53. Effect of these
on Art—54. Rehearsal of artistic subjects in the pageants—55.
The artist studies from the pageants—56. Characteristic illustra-
tions of the Florentine pageants—57. Dramatisation of the scenes
of the Passion of Christ—58. The religious and secular ‘ Triumphs ’