The Philosophy of Fine Art, volume 3 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 3 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
A further and yet more important building, which has, too, already
a more reliable historical basis, is the temple of Belus, of which
Herodotus informs us[37]. We will not here inquire in what relation
this stands to that of Biblical tradition. It is impossible to call
this structure, taking it as a whole, a temple in any ordinary meaning
of that term; rather we should call it a temple enclosure in the form
of a square, each side of which was two stadia long, with brazen gates
for means of entry. In the centre of this sacred place, according to
Herodotus, who had actually seen this colossal work, a tower of thick
walls (with no interior, solid throughout, in other words a πέργος
στερεός) was built, both in length and breadth a stadium: on this
was placed yet another, and again another on that, and so on, eight
towers in all. On the outside of this a roadway was made to the top;
and it appears that halfway up to the summit was a place of rest with
benches on which all who ascended could rest themselves. On the summit,
however, of the last tower there was a huge temple, and in the temple
was a great bench, well cushioned, and before it stood a gold table.
No statue, however, was placed in the temple. No one was permitted
to be there at night with the exception of the attendant women, who,
according to the statements of the Chaldaeans, the priests of this god,
were selected by him pre-eminently for service. The priests further
maintained (_c._ 182) that the temple was visited by the god, who
rested on the bench made for him. Herodotus, it is true, also states
(_c._ 183) that below within this sanctuary there was yet another
temple, in which was placed a great image of the god of gold, together
with a huge golden table before it, and at the same time refers to two
great altars outside the temple on which the sacrifices were made.
Notwithstanding these facts it is impossible to picture this gigantic
building as a temple either in the Greek or modern sense of the term.
For the first seven cubic towers are solid throughout, and it is only
the eighth one at the summit which serves as a resting-chamber for the
invisible god, who received therein no obeisance either from priesthood
or the community. His image was below outside the building, so that the
entire construction was raised in really independent and self-contained
form, and did not subserve the objects of religious ritual, although
it is no longer a purely abstract point of unity that we find here
but a sanctuary. The form remains no doubt subject to accidental
causes, or it receives its determinate character purely on account
of the material security of the cube form; at the same time we have
evidence of a demand which seeks for a significance which may supply
a determinate relation to it more directly symbolical and applicable
to the work taken as a whole. We must look for this, though this is
not a point expressly adverted to by Herodotus, in the number of the
massive floors.
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