totem:

an object or natural phenomenon with which a family considers itself closely related or the  representation of such an object serving as the distinctive mark of the clan or group.

 

architecture of the grand style:

Spengler argues that Cultures in their Summer period (of the city) will find their own unique favoured mode of expression (music, painting, mosaic, sculpture etc.) but as young Culture (Spring) they all favour architecture; it is extension in stone & allows subconscious expressions of fear & alienation; it will however finally yield pride of place to the personal arts of the city.

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world fear:

Spengler's reference to primordial fears initiated first through the Soul separating itself from the outer world, the birth of the individual, from which he feels direction and irreversibility, time, future, past; especially the fear of actuality completed, as BECOME, the fear of death.  A creative fear leading to religion, high art, language (naming thereby controlling) and in the Higher Cultures of Autumn, sciences and laws.

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beam and load:

post and lintel system of the Classic temple in which a strong horizontal elements (architraves) are held up by strong vertical elements (columns) with large spaces between them, employed to support a roof, creating a largely open space beneath.

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force and mass: * see Endnote 6

For the stone mason of the Gothic period, the mechanics of the weight of a groin vault and its transmission outwards to the supporting pillars remained as it had been in the Romanesque period, however the use of the pointed arch, rib vaults & flying buttresses demonstrated the skill of the masons & allowed higher elevations for the naves.

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cottage building industry:

earliest form of architectural building, whose principles are lost in later historical epochs (Summer)

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Lessing:

see Introduction page 20

 

Hebbel:

see Introduction page 24

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Classical and Western tragedy: * see Endnote 7

Classical tragedy was religious theatre, its structure was constrained by religious consideration & tradition; the content of its work aimed to recognize & honour the Gods.  Because of this, Fate and hubris were driving elements of the plot, the protagonist has minimal agency other than expression.  Western tragedy is secular in nature, its constraints & traditions are born from internal nature & practicalities (business practices, audience engagement); plot lines allow for human agency, the existence of good and evil and the role choice may play in a man’s downfall.

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Egyptian (serial arrangement of statues, sphinxes, temple halls): * see Endnote 8

a strong feeling of series (a number of related things arranged in spatial, sequential order) is evident in many Egyptian stone monuments; collectively they represent a very strong expression of linear movement along a path.  The Egyptian temple contained a sanctuary (with cult image) at one end of a pathway; along this path were a collection of stone edifies adhering to complex patterns.  Their typical design consisted of a series of enclosed halls, open courts, and entrance pylons aligned along the path used for festival processions.

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choice of materials:

Egyptian artists used granite which stood the test of time & reflected their concern for the future.  In contrast the Greeks (who Spengler believes had no historical sense but were consumed with an all abiding PRESENT, with neither past nor future) began with wooden structures & temples.  This is evidenced in the triglyphs & their corresponding set of guttae (the 6 triangular "pegs" below the triglyph) which are skeuomorphic representation in stone of the wooden beam ends of the typical primitive hut.  The wooden beams were notched in 3 separate places in order to cast their rough-cut ends mostly in shadow. Greek architects preserved this feature (as well as many other features common in original wooden buildings).  Only after contact with the Egyptian Culture & its massive stone monuments did they switch to a more durable material such as marble.

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diorite:

extremely hard rock (intrusive igneous), hard to carve and work with, however its hardness  allows it to be worked finely & take a high polish, providing a durable finished work.  Frequently used for inscription, as it is easier to carve in relief than use in 3D statuary.  The most famous diorite work extant is the Code of Hammurabi, inscribed upon a pillar of black diorite. The use of diorite in art was most important among very early Middle Eastern civilizations such as Ancient Egypt, Babylonia, Assyria, and Sumer. It was so valued in early times that the first great Mesopotamian empire (the Empire of Sargon of Akkad) listed the taking of diorite as an aim of military expeditions.

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arabesque over Early Christian picture: * see Endnote 9

Spengler considers early Christianity to be a component of the Magian (or Arabian) Culture.  In the early Christian Church images of God, Christ & other persons are common on Sarcophagi.  The creation of images depicting God and humans was also common in Byzantine art.  In the late Summer of this Culture, with the emergence of Mohamad & the Iconoclasm debate in the Byzantine Empire (726-787 and 815–843 AD), the use of images fell out of favour.  Although we see its revival in Byzantium after 843 AD, in the Islamic world images remained forbidden.

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oil painting (retreat of): * see Endnote  10

Spengler contends that oil painting reached a peak in the Renaissance (1400-1600) & Baroque (1600-1700), with Leonardo, Michelangelo, Titan, Raphael, followed by Rembrandt, Caravaggio & Bernini.  After 1600 music began to eclipse painting.  Painting was certainly brought to a monumental state in the Renaissance, rising out of the Medieval Church, giving us perspective, symmetry, anatomic detail and balance; Baroque artist used this foundation & added their own emotion tension & drama. 

 

chamber music: * see Endnote  11

Spengler opines that oil painting reached a peak in the Renaissance & Baroque but that this artistic summit was eventually overtaken by the music of the Baroque (1600-1750) & Classical period (1750-1820).  Music develops later than painting; the genius of Bach, followed by Mozart & Beethoven certainly made music a major Cultural expression.