I. Music one of the arts of form, page 219.

Forms are the clearest symbolic expression of a world feeling.  The Western science of arts errs twofold: first in excluding music from the plastic forms (painting, sculpture, architecture), secondly by rigidly subdividing the arts into strict disciplines (the art of sculpture, the art of painting).  Art iis life and cannot be dissected.  The sculpture of the Faustian culture cannot be compared to Apollonian sculpture to which it is alien; Faustian sculpture & Faustian music share affinity & are related, their inner form language is identical & this similarity negates difference in the acoustic or optical means.  The boundaries of art are historical not technical.  There is no great art genus running through all Cultures; each Culture has their own.

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Classification of the arts impossible except from the historical standpoint, page 221.

Artists create a masterpieces; Cultures create its species of art, unique, living but not of universal validity.  Physiognomics is the method to be used instead of conventional classification (art as static, universal, e.g. from Egyptian sculpture to Western sculpture).  The latter approach is that of cause/effect, of Science, of Become; but art is living not dead & cannot be dissected; rather it is subject to destiny, a unique occurrence.  The conventional scheme leads to a series of events with superficial conclusions.  It relegates the “peripheral” regions (Sassanids, Russians) & uses the term “decline “to describe an art species which is dead, and “renaissances” to describe a supposed rebirth, in this case of the Classical.  It gives the false message that an art can be revived after it has grown weak.  Yet in fact Cultures cannot be re-born or transmit other’s Culture (e.g. Egyptian art style in Doric).  Great art dies with a Culture or within a Culture, so Doric music died, it is not found in late Classical art.  Portrait is not found in late Magian art, Arabesque has swept it away.  And Gothic plastic (Peter Fisher Verrocchio) vanishes before the oil paint of Venice & instrumental Baroque music.

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II. The choice of particular arts itself an expression-means of the higher order, page 222.

The choice of art-genus or species of art (e.g. oil painting, frescoes, free standing sculpture) is highly significant & reflects the life history of the Culture.  Each art species is an independent organism living its own life cycle inside the larger life cycle of the Culture.  There is no universal “sculpture” or “painting” but only idiosyncratic art species of a particular Culture, unique (not universal).  The illusion of universal art forms (e.g. the history of sculpture) rests on the cause-effect  principle seeking causes which are in fact unrelated to the true living Destiny.  Art history errs when 1) positing a linear progression of art (the old Ancient Medieval Modern paradigm and 2) positing a group of universal arts such as painting or sculpture.  We are informed the Renaissance was the “re-birth” of Classical art forms.  In fact no such re-birth is possible; art species are born, mature & die within the Culture.  Transmutation into another Culture is impossible; their extinction is possible even within their own Culture (e.g. the great drama of 5th century Athens ends definitively after Euripides; instrumental music after Bruckner; Apollonian music of the Archaic period dies before the Classical & Hellenistic ages; in the Magian Culture portrait is smothered by Arabesque; the Gothic sculptures of the cathedrals wilts under the rising sun of oil paint & instrumental music).

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III. Apollinian and Faustian art-groups, page 224.

From architecture will come future forms of the Culture.

Apollonian architecture is Euclidean, soley exterior.  The front of a peripteros is 1 of 4 sides.  Apollonian forms focused on the perfect human body, free standing & appreciable from all sides; it was this ideal that it worked to achieve.  It represents the pure present, soulless, material & empty, completely fettered to the senses, without appreciation for space.  This ideal was the object of archaic relief, vase painting & the Attic fresco.  Sculpture evolves from 650 to 350 BC starting with art tied to a plane, ending with a full 3600 visual field (fully realized in Lysippus).  As a form-ideal the statue is rooted in relief & archaic clay-painting (from which fresco also originated).  Both relief & fresco are tied to the bodily wall.  On the completion of the Doric order there is a simultaneous move away from Egyptian frontality.  This is a struggle to overcome the flatness as felt in the painting of the fresco.  Up to Myron (480–440 BC) sculpture was simply relief detached from the plane.  Only in the final stage is the figure treated as a self-contained body set apart from the mass of the building; yet even here it remained a silhouette in front of a wall lacking depth; the work is spread out frontally.  Owing to these tendencies fresco dominates sculpture; the standardized figure types found in vase painting are likewise copied in late sculpture.  This primacy of fresco is evidence by the polychroming and chryselephantine of sculpture.  Gradually there a move towards greater plasticity & depth.  After 460 with Polycletus (flourished 450–415 BC) this trend dominates.  Yet even with Praxiteles (flourished 370-330 BC) we still see a lateral or planar development & the outline is only intelligible from 1 or 2 standpoints.  Finally in Lysippus (370-300 BC) the wholly cubic form is achieved, intelligible from all angles. .  In the Hellenistic age the illusion painting closes the grand style.

Magian architectural form (the primal ur-form) centres on the interior, but here it is fixed.  The domed building has no architectural exterior.  The language of the cavern hides a secret known but to the initiates (a truth found in the Mithradic & syncretic cults et all Magian cults).  It even lacks a front facade.

Egyptian architecture is rigidly frontal, it is set on a plane and this is followed reflected in its relief carvings & sculpture, all to be viewed from 1 angle- the front.

Faustian architecture encompasses the analytical geometry of position of points in space; while it begins from the inside, it moves outward- the style drives through walls into the limitless universe of space, making the exterior and interior of the building complementary, reflecting the same world feeling.  The basilica type (inherited form the Magian & Pseudomorphosis) was adapted by the Germanic Faustian Soul.  The exterior form of the building is brought into relation with the meaning that governs the arrangement of the interior.  The Faustian building has a visage not merely a facade This head is associated an articulated trunk that draws itself out through the broad plain like the cathedral at Speyer, or erects itself to the heavens like the innumerable spires of Reims.  The motif of the facade informs the visitor of the inner meaning of the house (true in cathedrals as well as secular buildings).

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IV. The stages of Western Music, page 226

For Faustian art the analogous period lies between late Gothic & decadent Rococo.  Thru this period the will to spatial transcendence becomes stronger & parallels the rise of instrumental music.  Early 17th century music follows painting- using tone colour of instruments & contrasts between strings & wind, between human voice & instruments- every movement a theme, heroic landscapes with pastoral cantata and portrait melodies.  However with the German masters painting can no longer lead music.  In the 18th century music becomes absolute, painting & architecture are eclipsed, sculpture fades even further.

Painting in the 17th century, of Florence & Raphael, refelcts plastic as associated with relief.  The new era of Venice & Titian, employ visible brush strokes & atmospheric depth effects (analogous to chromatic of wind & string choruses).  These eras are in opposition (not transitional or developmental) & reflect 2 different arts.

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Classical Apollonian music was plastic for the ear, its forms are structural not harmonic (body v space); melody is treated quantitatively without accent, the extent of their syllables determined the rhythm. It is incomprehensible to us, just as is Chinese music (totally accent less).  In contrast Faustian music embodies heavy directional energy, rhythmic dynamics, accent.  Likewise Magian music is incomprehensible to us- we know it thru the Pseudomorphosis (reflected in Jewish psalmody, Byzantine hymns).  The Faustian Soul borrowed few of the Magain forms & immediately transformed them.  Melodic accent & beat led to the march, polyphony led to the image of endless space. 

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We must differentiate between ornamentation & imitation in Faustian music.  Ornamentation: it is form, style, school, laws; born between the Seine & Scheldt in the 12th century, roots in Scholasticism,Romanesque, associated with the cathedral with flying buttress counterpoint developed likewise, the architecture of the human voice, the art of infinite space; it is linked to the mathematics of the coordinate system.  Imitative: same origins in time & space, but from castle & village, the secular music of the troubadour, rooted in Provence, it travelled to Dante’s Tuscany, with simple melodies appealing to the heart, with major & minors; madrigals; after 1400 the rondo & ballad are born;  secular music for the public with scenes of hunting & festivals, significant for its melodic inventiveness but not for symbols of linear progression.  The cathedral (ornamental) IS music with consciousness, begins with theory, its counterpoint produces extension, and with polyphony reflects infinite space; it gives us eternal rules.  The castle (imitative) MAKES music, begins with impromptu, music of life & with direction, melody rules & gives Faustian musicians a treasury of folk tunes.  The conflict between Renaissance & Reformation likewise displays this contrast.  The courts of Florence could not grasp counterpoint or the Gothic polyphony of human voice; the evolution of form from motet to the 4 voice mass proceeds in toto inside Gothic Germany.  The music of the Netherlands rules ornamental music. 

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With the Baroque age the lead passes to Italy, Venice & Rome.  Architecture no longer dominates, in its place we see the Faustian special arts emerge, preeminent is oil paint.  The domination of the human voice ends in 1650 as Palestrina & Lasso fulfil its final potential, it can no longer it express the drive to infinity.  Instrumentation, wind & string chorus emerge.  Venice produces both Titian as well as the new madrigal, pictorial & instrumental motifs (as against the Gothic architectural music, building).  All the arts become urban & secular, the super-personal is replaced by the personal form of the Master artist; later comes the basso continu (requiring the virtuosos)

The new task: extend the body of tones, to infinity.  The various timbre (families) of instruments grew out of the Gothic.  But this new orchestra is no longer held in check by the human voice but instead treats the human voice as simply 1 voice among many (as the geometric analysis of Fermat is replaced by the functional analysis of Descartes).  Pure tonal space emerges (1558 in Zarlino); melody & embellishment unite producing the motif & from the motif we see a reborn counterpoint in the Fugue (born with Frescobaldi, finding culmination in Bach).  Against the masses & motets Baroque hurls its instrumental oratorios, cantata & opera.  Sound worlds of tone emerge, from the competition of upper voices against bass, or against themselves all set against a basso continuo

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From the early Baroque (17th century) comes the sonata like forms suite, symphony, concerto grosso; here structure & sequence, themes & modulation become increasingly established.  Finally emerging we find the dynamic & bodiless form of music of Corelli, Bach & Hyden- the dominant art of the Faustian age.  By the late 17th century the fugal style had reached its fulfilment (parallel with the discovery of Calculus by Newton & Leibnitz).  Some 50 years later the 4 part movement emerges (from the fugal “is” to the new sonata form- “becomes”);  from the picture, to the drama (a cyclical succession not a series of pictures).  This embodies the final Faustian musical peak, deepest, most intimate: the strings, especially the noble the violin, the sacred, transcendence of the string quartets & violin sonatas.  With chamber music Faustian art as a whole achieves its zenith (the equal to the Doryphoros of Polycletus).

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Now Faustian music dominates all the arts.  Rococo sculpture is utterly subjugated to music, becoming musical in its intent- movements, lines, fluidity; a surface no longer granite (but porcelain).  he art of the miniatures (porcelain) emerges.  Oil painting too falls under the sway;- we describe Watteau & Fragonard with terms like colour tones.  And architecture comes under the domination of the musical genius, as structure is dissolved with light & tones & and turned into blended harmonies.  It is the visible chamber music of the Rococo palaces of Vienna and Dresden, and it is the final hour of the Faustian high Culture, it is autumn.

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V. The Renaissance an anti-Gothic and anti-musical movement, page 232.

The Renaissance is a counter movement & reaction against the Gothic spirit; as such it was dependent still on the Gothic spirit.  It lacked the latter’s bursting energy & creativity across all spheres.  It was costume & gesture.  It was anti-Gothic & anti-polyphonic music.  As a reaction it was similar to the Dionysus cult (7th century BC, rejection of the Olympian Gods).  Both movements were inner struggles against the dominant sprit.  The Dionysus Cult was musical, non-corporal; the Renaissance was Antique- with its primacy of body plastic.  Yet this is really just an alien means, the end being simple negation of the Doric/Gothic Spirit.  The declared end, which has been taken as literal truth, was more the difference between the north and the south (Italy).  In fact the Renaissance is almost in toto a Florentine experiment, much of northern Italy is outside its sway, remaining Byzantine-Gothic in essence. And Rome was already Baroque before Baroque!

 

Italy dominated by the Byzantine in the north & Moorish in the south, had no share in the birth of Gothic.  When the Gothic arrives it arrived with great intensity.  But it is not Classical antiquity which we dimly see in its work but the legacy of Byzantine-cum-Saracen form-language.  If the Renaissance was a true renewal it would have replaced the space symbol with that of the self enclosed body.  The Renaissance produces no new architectural forms (we see only facades & courtyards) but rather it simply transforms Gothic with a southern lightness.  Its forms (many windowed street front of a house) reflect Faustian focus on inner sprit (as is portraiture).  It shares more with Magain forms then Apollonian (the cloister is related to the Baalbek sun temple or Lion court of Alhambra).  Its sculpture is a legacy of Gothic (with its niches) NOT free standing Apollonian.  If we subtract all Renaissance elements which are legacy of Magain influence (the Roman Imperial Age) nothing is left!  Even the round arch & column, a motif exclusively linked to the Renaissance, is in fact Magain of Syria.

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Character of the Baroque, page 236

Impetus from the north allowed southern liberation from the Byzantine legacy, which in turn allowed it the freedom to evolve the spirit if Baroque.  The Gothic north impacted on Italian music, painting, architecture & plastic.  To Tuscany, from Amsterdam, Koln & Paris came counterpoint & oil-painting (created in association with Gothic architecture).  The northern geniuses who came south to Italy, to Rome, Florence & Venice influenced first the great artists (Botticelli, Leonard) as well as music (Venetian school).  It was the mathematical thinking of Cusa (a northern German) which influenced Leibnitz to develop his differential calculus, from which eventually came the Newtonian physics which completely overcame the southern physics of Archimedes.

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The High renaissance saw the apparent expulsion of music from the Faustian form.  In Florence (a city where Apollonian & Faustian spirits meet) we see an image of the Classical which  held sway of our imagination.  The Florence of the Medici & Rome of Leo X define for us the Classical.  They show the complete antithesis of Apollonian & Faustian sprit.  In Florence the popular arts were fresco & relief, against Byzantine mosaic & Gothic stain glass.  In painting the artists focused on poised bodies, ordered groups, the structural side of architecture.  Background was more a filler between the backdrop & the foreground.  Painting tended to be dominated by relief (many great Renaissance artists were goldsmiths first).  However this apparent Classical nature is misleading: Apollonian art lacks any spatial sense focused on the independent body (e.g. Classical painted vases).  In Giotto, Masaccio et al Renaissance (e.g. Florentine) art, we find instead the Gothic field, embracing extension & depth (even IF recessive).  We see work full of light & calm, atmospheric clarity.  This very Renaissance space was set out in plane layers, distinct clear lines, sharpness of outline & surface definition, which seems Apollonian.  But whereas the Florentine painter used a single perspective point with multiple groups, the Apollonian artists used the single body, with no perspective.  And as the Renaissance waned, so too this tendency weakens.  We travel from the clear, sharp lines of Masaccio (1425-27 frescoes in the Brancacci Chapel) to Raphael (1508-11the Vatican Stanze), his figures of clarity & grace, to the sfumato of Leonardo (1513-16 John Baptist), giving pictorial art a mystic, enigmatic effect.  Line gives way to atmosphere, the bas relief outline gives way to the musical ideal.  Renaissance sculpture reflects the taste of the elite of Florence, not Caesar’s Rome; the architecture of Florence owes more to the Moors then the Greeks.  Even the perceived great models of Antiquity (the Pantheon & Basilica of Constantine) were rooted in Magian, NOT Apollonian culture.  And everywhere in Florentine picture art we find Northern influences.  Do not mistake outward, transferable forms for the Spirit.  The Renaissance was a dream of Classical antiquity, not a near copy, but the dream was the only dream in which the Faustian soul forgot itself

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VI. page 239

In the 16th century there is an epochal shift from architecture (in the North) & sculpture (in Italy) towards painting.  Painting becomes musical, polyphonic; it now aims to conquer space.  Impressionism begins.  In the picture itself, the horizon (long ignored) comes to the forefront.  The background, symbol of the infinite, conquers the foreground; horizon is unique to Faustian culture & does not exist in Egyptian or Apollonian Culture (even in Chinese it is not so prominent).  Painters who mimic relief disappear in favour of directional energy (perspective).  The horizon becomes analogues to the infinitesimal principle of the Faustian mathematician.  In the horizon principle music triumphs over plastic, passion over substance.  It is in the North (home of counterpoint) that the understanding of horizon emerges (Rembrandt is the master here).  This sweeps aside the Byzantine-Arabic remnants of the South.  In 1416 the very first Northern horizon is born (Duke de Berry Book of Hours).  And clouds too emerge.  The Apollonian Couture knew nothing of clouds; Renaissance artist only treat them playfully.  It is in the North (again) that the true cloud appears, in mysticism, in the South the Venetian School discover the magic of clouds; the Netherlanders its tragedy.

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The Park, page 24O.

Along with oil paint & counterpoint, the garden park took the Prime Symbol.  Just as the Flemish & Italian artists were attacking perspective & space, as they created the horizon where perspective lines merge into Infinity (which the Apollonian avoided at all cost), so the garden is now designed to express this as well.  First in the Renaissance garden set high, giving the on-looker a view.  This is then extended in the Rococo parks, in the Formal French garden, where the point de vue becomes the central focus, making Nature herself an instrument of the Faustian Prime Symbol.  Gardening repeats the progression of oil paint.  Yet at the same time, this Baroque park is also the park of the late summer, it portends an end, in autumn, as is reflected also in Faustian literature (Baudelaire, Nietzsche).  Our depth experience gives us the certainty of our Destiny, the irrevocable direction of time.  With the rise of perspective horizon steps forward. 

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Prior to this the picture was the contest, the picture was line.  After this content is but a means to an end, the expression of depth.  Painting evolves from plastic (static) towards musicality (space).  Outline defines the material; colour tones address space.  The line picture narrates; the space picture of colour leads to transcendent imagination.  Form & content appear disjointed.  Spengler argues that this inversion also occurs in Music, in the transition from Renaissance to Baroque, in the role of instrumental music circa 1600. 

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Besides the issue of form/content Baroque art is never popular art, but appeals strictly to “finer sensibility”.  This is in contrast to the Apollonian art which is genuinely popular.  Faustian art is a struggle.  It is esoteric.  It becomes increasingly esoteric.  Even Gothic is esoteric (witness Dante, Wolfram). The exception is the Renaissance which achieves the Apollonian feeling of simplicity.  In contrast a Bach mass is not intelligible to most congregations.  Painting has turned away from content to space.   With this we have metaphysics in painting, an idea not easily comprehended.  Phidias however, never encountered this; his art appealed in totally to he body, not the spiritual eye.

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VII. page 243

Every Culture has its own principle of composition as determined by the Prime Symbol.  Egyptian composition involved superimposed ranks of simultaneous events (avoiding 3D); Apollonian Culture used distinct separated figures & groups, likewise avoiding 3D feeling.  Although Renaissance painting brought group composition to a singular pinnacle, the driving factor was depth expression.  And as aerial depth replaced line perspective, the Renaissance idiosyncrasy (avoiding Gothic while emulating Apollonian) was defeated.  As the Renaissance ebbs, there emerge great painters & musicians, these are the burgeoning arts, while sculpture recedes, becomes incidental.  For Faustian Culture the prime spirit is expressed in oil paint & music; sculpture has fallen out of the Faustian destiny, without soul.  In the Apollonian world it was music, which at the Ionian Summer began to fall back, renouncing polyphony & harmony, sculpture & frescoes emerge as the true Apollonian arts.

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VIII. Symbolism of colours, page 245.

Apollonian painting uses 4 colours: yellow, red, black & white, rarely blue or blue green.  The Greeks had access to these colours but avoided using them.  This is because blue & blue green represent the heavens, the sea, the evening the distant mountains.  They are atmospheric colours, not substantial colours & evoke impressions of expanses & distance.  Thus Polygnotus avoids these colours.  But for the Faustian painter, from the Venetians to the 19th century, the blue green (the space evoking colours)  are an supremely important tone, supporting the ensemble of intended colour effects, just as the basso continuo supports the orchestra, just so red, yellow tones are used sparingly, dependent upon this basic effect. 

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Colours of the Near and of the Distance, page246.

Baroque aerial effects (in contrast to Renaissance line perspective) are dependent upon this colour, the indefinite blue green of nothingness.  The Apollonian avoided blue-green; this colour dominates Faustian oil painting.  For the Apollonian their colours are yellow & red, colours of the near, the material, sexuality, the popular colours.  Black is the aloof colour, as recognized by the Venetians & Spanish high personages.  Yellow & red are polytheistic, hues of the forefront, the social colours, immediate.  In contrast, blue green is monotheistic, deep blue  of the Madonna, colours of care, loneliness.  All the Cultures where the Prime symbol involves overcoming, involves resistance (as opposed to acceptance, fatalism), the blue green has a special meaning to space.

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Most significant of the Faustian colours is Grunwald’s dusky green, the colour of the cathedral interior, of the Faustian (Catholic Christian) church, of night, remote, silent.  It stands in contrast to the gay pagan colours of the Classical age, and the Byzantine gold ground.  This green is the colour for interior art, art inside the studio, versus Classical public  art, the Apollonian statue, set outside in contrast to Faustian chamber music.

 

IX. Gold background and Rembrandt brown, page 247

The Magian world feeling is expressed with the ground gold.  We see nuances of this in the mosaics of Ravenna, in the North Italian masters (still under the Byzantine spell) and in the Gothic Illuminated manuscripts.  How did 3 Cultures express a similar problem: the pictorial.  The Apollonian recognized only that which was near in time & space; it avoided the background; the Faustian Culture seeks to break through all sensuous barriers, projecting the image into the distance using perspective; the Magian expresses the mysterious powers that pervade its world cavern with spirits, and shuts off the scene with a gold ground, a colour outside nature.  Gold is no colour; it produces a complicated sense-impression, generated by its glowing surface; true colours  are natural, the metallic gleam of gold, never found in natural conditions, is unearthly.  This ties in with the Kabala, alchemy, 1001 Arabian Nights; we hear it in Neo-Platonism, the early Church Councils disputing the nature of Christ, the great Islamic philosophers.  In the iconography of the Western Church the gold ground background possessed an explicit dogmatic significance: it asserted the existence & action of the divine spirit.  It is the Arabian form of the Christian world-consciousness.  For 1000 years it was considered the ONLY metaphysical treatment proper & ethically proper for the Christian legend.  When natural backgrounds (blue-green heavens, far horizons, depth perspective), replaced gold ground, it reflected a profound change in dogma, occurring when the Faustian Christian church instituted the sacrament of Contrition.  Just as Faustian Christianity attained new consciousness, painters begin the mastery of perspective, colour; and at this same time the East-West schism appears (1054).  The infinity of the landscape scene is matched by the Faustian appreciation of the infinity of the God.  And so too disappear the ontological problem of the godhead which had so confounded the Eastern Church councils

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X. page 249

The Venetians (Titian) introduced the visible brush stroke, which aids depth perception and is musical.  In complete contrast, the Florentine painters avoided such signs, preferring a pure line & even surface.  Florentine paintings have the quality of Being, just the opposite of in motion.  The Florentine approach is a denial of past or future, but with the visible brush, the historical feeling become present, we see a continuing process.   We feel the temperament in the unending movement of the colour, there is a spiritual evolution we can recognize (of which Greek sculpture is devoid).  We detect the eternal Becoming, directional Time & Destiny.  This opposition between drawing and painting is 1 aspect of the opposition between the historical (Faustian) and ahistorical (Apollonian), assertion of inner development, denial of inner development.  At this same time there appeared in Western painting studio brown.  Unknown to the Florentines or the Flemish it is derived from yet mightier than the blue green of Grunewald or Leonardo; it ends  the battle between space & matter, it prevails over the Renaissance linear  architectural perspective.  Like the Impressionists it dissolves line, moves into the infinity of pure form.  It culminates the process of Becoming.  With nuance s of the Protestant spirit, it anticipates Northern pantheism (of the Enlightenment).  It corresponds to instrumental music’s move to freer chromatics, the formation of string & wind tone bodies.  Oil painting will create chromatics from pure colour, an infinity of brown shades contrasting pure colour.  Both oil paint & music now spread through tone colour and colour tones, of pure spatial atmosphere, no longer a corporal body.  It achieves the deepest psychological truths of Rembrandt & Beethoven, the exact inner truths the Apollonian strove to forever avoid.  Brown was unknown in the Renaissance; it is not a natural colour.  But now yellows & red are used only sparingly.  Giorgione uses it tentatively; the Dutch artists lost themselves in it and in the process strip Nature of its actuality.  We find a conjunction here with religious faith (Jansenism).  And then, with Constable, come the first painter of civilization & the process ends.  Subsequent artists  are but echoes; brown has become a relic, heirloom.  These romantics set themselves against the soulless plein air, soul, against intellect, Culture against Civilization, symbolic necessary art versus megalopolitan applied art. The death of brown, is, the death of Culture.  It was the colour of the Soul, the historical Soul.  It is the colour of the strings (Beethoven’s strings).  And we can see the link between the Gothic via the golden brown of the Venetians, to the Baroque, to Beethoven.

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Patina, page 253.

Brown is a historical colour- it has direction, atmospheric space, it will overcome instantaneous elements.  The Apollonian came to prefer bronze & gilt bronze to painted marble; it was better able to express individual of a body.  When these were excavated the surface was covered in patina, black & green.  This patina tells us f remoteness of time & place, a symbol of mortality.  The Greeks would have eschewed such, seeing it as ruination.  But the Faustian soul values ruins, the evidences of the distant past, it loves the collection of ancient antiquities, manuscripts, coins, pilgrimages to historical sites, excavations, ruins as ruins (and not as projects to efface & re-build).  The Faustian Soul even create artificial ruins in its gardens.  For the Faustian (and Egyptian) age ennobles all.  Even our literature reflects this, in our tragedies, historical settings.