THE PHILOSOPHY OF FINE ART BY G. W. F. HEGEL TRANSLATED, WITH NOTES, BY F. P. B. OSMASTON, B.A. AUTHOR OF "THE ART AND GENIUS OF TINTORET," "AN ESSAY ON THE FUTURE OF POETRY," AND OTHER WORKS VOL II CONTENTS OF VOL. II SECOND PART INTRODUCTION [Evolution of the Ideal in the Particular Types of Fine Art, namely, the Symbolic, the Classical, and the Romantic. Symbolic Art seeks after that unity of ideal significance and external form, which Classical art in its representation of substantive individuality succeeds in securing to sensuous perception, and which Romantic art passes beyond, owing to its excessive insistence on the claims of Spirit] SUBSECTION I THE SYMBOLIC TYPE OF ART INTRODUCTION OF THE SYMBOL GENERALLY [1. Symbol as a sign simply in language, colours, etc. 8 2. Not a mere sign to represent something else, but a significant fact which presents the idea or quality it symbolizes 9 3. Thing symbolized must have other qualities than that accepted as symbol. Term symbol necessarily open to ambiguity 10 (_a_) Ambiguity in particular case whether the concrete fact _is_ set before us as a symbol. Difference between a symbol and a simile. Illustrations 10 (_b_) Ambiguity extends to-entire worlds of Art, _e.g_, Oriental art. Two theories with regard to mythos discussed and contrasted 14 (_c_) The problems of mythology in the present treatise limited to the question, "How far symbolism is entitled to rank as a form of Art?" Will only consider symbol in so far as it belongs to Art in its own right and itself proceeds from the notion of the Ideal, the unfolding of which it commences] 19 DIVISION OF SUBJECT [1. The artistic consciousness originates in wonder. The effects that result from such a state. Art the first interpreter of the religious consciousness. Conceptions envisaged in plastic forms of natural objects 23 2. The final aim of symbolic art is classical art. Here it is dissolved. The Sublime lies between the two extremes 26 3. The stages of symbolical art classified according to their subdivisions in the chapters of this. Second Part of the entire treatise] 29 CHAPTER I UNCONSCIOUS SYMBOLISM A. Unity of Significance and Form in its immediacy 36 1. The religion of Zoroaster 37 2. No true symbolical significance in the above 42 3. Equally destitute of an artistic character 44 B. Fantastic Symbolism 47 1. The Hindoo conception of Brahmâ 50 2. Sensuousness, measurelessness, and personifying activity of Hindoo imagination 51 3. Conception of purification and penance 64 C. Genuine Symbolism 65 1. Nature no longer accepted in its immediate sensuous existence as adequate to the significance. Art and general outlook of ancient Egypt 75 [(_a_) The inward import held independent of immediate existence in the embalmed corpse 76 (_b_) Doctrine of immortality of the soul as held by Egyptians 76 (_c_) Superterranean and subterranean modes of Egyptian art. The Pyramids] 77