[Footnote 340: The distinction seems to be between the more formal unity of personality and the peculiarly seductive charm of Italian art. It is rather a fine one and it seems to me rather confusing. Moreover I do not quite see the pertinency of the simile of a Psyche that is wafted as a butterfly even round blooms that have been spoiled of their treasure, for such I understand to be the sense of _verkümmerte Blumen._ A butterfly comes into no active relation with such unless the idea is pictorial decoration. But possibly Hegel was thinking of his reference to Dante, and in that case employed the metaphor loosely, rather too loosely I should say.] [Footnote 341: "Stunted" is perhaps the best translation. The fault of the simile lies in its superficiality. It does not penetrate the conception Hegel has before him.] [Footnote 342: Giotto, Mantegna, Carpaccio, Masaccio, would be leading names in point here. Hegel mentions two himself lower down.] [Footnote 343: "Ital. Forsch.," vol. II, p. 4.] [Footnote 344: _Grelle._ That is harsh and flagrant outline.] [Footnote 345: _Ihrer_ must refer I think to the Italians, though the sentence might mean, "In contrast to these Greek productions."] [Footnote 346: _Als Ueberzug._ The expression suggests it was used as a facial glaze or varnish.] [Footnote 347: "Ital. Forsch.," vol. I, p. 312.] [Footnote 348: That is mixed with the attrited colour in its dryness.] [Footnote 349: _Leimen. Leim_ is size or lime, in the compound word _leim-farbe_ signifying distemper.] [Footnote 350: "Ital. Forsch.," vol. II, p. 42.] [Footnote 351: Decam. Giorn., 6. Nov. 5.] [Footnote 352: Such as S. Francis as presented us in Giotto's great frescoes in Assisi.] [Footnote 353: No doubt the serious aspect is less imposingly emphasized; but if the opinion condemned below is too sweeping it remains the fact that we can imagine nothing more profoundly serious in the religious sense than the frescoes in the Arena Chapel in Padua.] [Footnote 354: "Ital. Forsch.," vol. II, p. 73.] [Footnote 355: "Ital. Forsch.," vol. II, p. 213.] [Footnote 356: _Aufgaben_, artistic problems, themes.] [Footnote 357: "Ital. Forsch.," vol. II, p. 243.] [Footnote 358: This of course is too strong a statement, and indeed is ridiculous to anyone who has complete knowledge of the best work even of Giotto.] [Footnote 359: "Ital. Forsch.," vol. II, p. 252.] [Footnote 360: The frescoes of Mantegna, and those of Ghirlandaio, we would mention in particular the fine examples in the S. Maria Novella church in Florence, or for Mantegna our own cartoons at Hampton Court and the invaluable but now hopelessly ruined frescoes of Gozzoli, in the Campo Santo of Pisa, are fine illustrations of the text.] [Footnote 361: _Des inneren Geistes_ may here refer to the ideal aspects of civil and domestic life, but I think Hegel is contrasting the two extremes and it refers to the religious content.] [Footnote 362: "Ital. Forsch.," vol. II, p. 282.]