high-Renaissance paganism: * see EndNote<A>

In late Antiquity it was often asserted by Christian apologists that Christian theology had much in common with the higher pagan religions (philosophy) as distinct from the superstitious beliefs of the ordinary pagans.  During the Renaissance this proximity of the 2 belief systems was taken for granted.  Many lay theologians were heavily influenced by Humanism (the 15th century Florentines Ficino and Mirandola); they were creating a hybrid theology in which Platonic literature assumed a beneficial role in renewing Christianity.  Both had followers in Rome & in the 16th century their ideas found currency among ecclesiastics.  In painting the emergence of Paganism in painting is reflected in Primavera & the Birth of Venus, both by Botticelli, both commissioned by the Medici family.  The Sistine Chapel, produced slightly later, also reflected this new taste.  Although the magnificent ceiling based on Biblical lines & was set inside a church, it also includes pagan sibyls.  Furthermore the deployment of the many male nude figures is an interest clearly derived from Antiquity.

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Gothic-Christian Dante:

In the 14th century epic poem, the Divine Comedy, Dante creates a fictional version of himself who travels through the farthest reaches of hell (Inferno), purgatory (Purgatorio) & paradise (Paradiso).  Allegorically the poem represents the soul's journey towards God.  It maps out exceptionally picturesque and graphic images of heaven and hell, which became canonical Christian dogma, promulgated throughout the Byzantine world and Europe.  Within the Christian tradition, no OTHER written work has had more influence on the belief that human beings possess an immortal soul than this poem.  Its vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church.   Dante draws on medieval Christian theology and philosophy, especially Thomistic philosophy derived from the Summa Theologica of Thomas Aquinas.

 

metaphysical:

concerned with abstract thought or subjects (existence, causality or truth); concerned with first principles and ultimate grounds.

 

Pygmalion and Galatea:

Pygmalion was a talented Greek sculptor from Cyprus.  He becoming disgusted by some local prostitutes & forswore the company of women.  Instead he dedicated himself to his sculpting, working long & with great inspiration.  He created a beautiful stature of a woman out of ivory.  Perhaps he sought to correct in ivory the flaws he saw in women of flesh and blood.  He named the statue Galatea.  Although he had professed to disdain all females, he fell deeply in love with Galatea & brought it gifts, he caressed & kissed it.  Yet it could never love him in return.  Aphrodite noticed his passion & took pity on him; she gave Galatea life.  When Pygmalion entered his studio,he ran to his statue and embraced it.  To his amazement she seem warm to his touch. The statue’s lips seemed soft!  Pygmalion humbled himself at the Goddess’ feet.  Pygmalion and Galatea were wed; Pygmalion never forgot to thank Aphrodite for Galatea.  Aphrodite blessed the nuptials & they produced a son named Paphos.

 

Michelangelo (marble as foe): * see EndNote<B>

Michelangelo saw sculpture as the art of taking away from something rather than adding to it (as painting adds to a blank canvas), essentially trying to bring into existence, freeing the form beneath the stone. 

 

Siegfried delivered Brunhilde:

Spengler is referring to the Wagnerian character Siegfried, the hero who knows not fear.  Having killed the dragon Fafner, he is informed by the birds of the forest that Brunnhilde awaits him & he climbs the mountain to seek her out.  Despite the ring of fire surrounding her, he approaches, and in kissing the sleeping former Valkyrie, awakens her.  It is a heroic act.

 

daemonic:

inspired as if by a demon, indwelling spirit, or genius.

 

The Giant:

usually a reference to David by Michelangelo: “the giant of Florence” (Vasari, Lives);  however in this instance, Spengler is referring to Michelangelo himself.