[Footnote 8: A misprint. _Der_ should be _die._] [Footnote 9: _Zuversicht._ Confidence in itself.] [Footnote 10: _Die Sache._ The fact, the artistic object primarily treated.] [Footnote 11: _Die Subjektivität._ What is personal in the perception of judgment.] [Footnote 12: A fine illustration of this passage is to be found in Miss Harrison's description of the Praxiteles Hermes in her admirable "Introductory Studies in Greek Art" (see chap, VI), a work every student of Greek Art should peruse.] [Footnote 13: _Gediegenheit._ Sterling solidity. To understand all that is implied the above cited work of Miss Harrison is the clearest and most useful I know.] [Footnote 14: _In Unterhaltung._ Finds himself, so to speak, directly conversing with him.] [Footnote 15: _Der Gattungen, i.e._, specific types.] [Footnote 16: _Das Aussereinander._ A differentiated exteriority.] [Footnote 17: _Subjektivität_, the ideal unity that is--not so much as soul or personality.] [Footnote 18: _Kein subjektives Inneres._ No ideal content that implies a unifying subject.] [Footnote 19: Same expression as last note. An ideal realm in its aspect of relation to an individual soul.] [Footnote 20: _Als Element._] [Footnote 21: Or reason (_Geist._)] [Footnote 22: As such content.] [Footnote 23: This must be taken subject to qualifications which appear further on.] [Footnote 24: _An sich selbst subjektiv._ As essentially appertinent to the individual soul.] [Footnote 25: _Sich entgegenheit dem Geist_, _i.e._, raises itself as a medium opposed to--or, as we should say, subservient to.] [Footnote 26: This is obviously a reference to the false theory of light advanced by Goethe and accepted by Hegel.] [Footnote 27: _Das ganze Mensch._ The entire man with all his faculties.] [Footnote 28: This is a reference, of course, to the Art Philosophy of Schelling.] [Footnote 29: _Zum vornehmen Wesen._ Ironical, of course. It is part of the aristocratic pretensions of the connoisseur.] [Footnote 30: He means that as an explanation they are obvious provided the facts are true, which he then points out in such cases is not so.] [Footnote 31: I am not sure I follow the sense here. I presume the meaning is that, as _notionally_ considered, we have to commence with an architecture to which other arts are already subservient. The process of elaboration has already been carried beyond mere architecture. And in this sense he calls sculpture an elaboration (_Ausbildung_) of architecture. But the addition of painting and music as such elaboration is, to say the least, an unnecessary obscurity. Such an elaboration of a primitive form of music is suggested lower down. But the conception appears to me rather confusing.] [Footnote 32: That is the final phase, romantic architecture.] [Footnote 33: Other than architecture.] CHAPTER I INDEPENDENT SYMBOLICAL ARCHITECTURE