Vermeer:

see page 221 above

 

vermilion:

a brilliant scarlet red

 

Rembrandt (yellow-green and blood-red lights): * see EndNote<A>

See Chapter I page 23, Chapter II page 81, Chapter III pages 101, 103, 112  Chapter VI page I83, and above pages 222, 239.

 

Rubens:

See Chapter VI page 207

 

Watteau: * see endnote<B>

See Chapter II page 87, Chapter III page 108

 

Rembrandt landscape: * see EndNote<C>

In the decade after the Night Watch (1642) Rembrandt's paintings varied greatly in size, subject, and style. The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of colour. Simultaneously, figures came to be placed parallel to the picture plane. These changes can be seen as a move toward a classical mode of composition and, considering the more expressive use of brushwork & may indicate a familiarity with Venetian art.  At the same time, there was a marked decrease in painted works in favour of etchings and drawings of landscapes. In these graphic works natural drama eventually made way for quiet Dutch rural scenes.

 

other great masters: * see EndNote<D>

Spengler is clearly referencing Rubens (mentioned in the same paragraph as a “brilliant performer but no thinker”.

 

patina:

a thin layer that forms on the surface of copper, bronze & similar metals (tarnish produced by oxidation or other chemical processes), on certain stones & wooden furniture (sheen produced by age, wear, and polishing), or any similar acquired change of a surface through age and exposure. Patinas can provide a protective covering to materials that would otherwise be damaged by corrosion or weathering. They may also be aesthetically appealing.