Aristotle (on Zeuxis): * see EndNote<A>

In his Poetics (335 BC- the earliest surviving work of dramatic theory) Aristotle states that the paintings of Zeuxis lack feeling for ethical qualities or character, in contrast to the sculpture of Polygnatus.

 

Ethos:

the moral element in dramatic literature that determines a character's action rather than his or her thought or emotion.

 

Polycletus & Phidias (Bach and Handel):

For Faustian Culture Bach & Handel represent the apogee of Culture, their music pure form perfected.  For the Apollonian Culture, the sculptures of Polycletus & Phidias perform the same role.

 

Polycletus (his canon):

see Chapter V page 177

 

Bach (Kunst der Fuge & Wohltemperiertes Klavier):

English: The Art of the Fugue, an incomplete musical work of unspecified instrumentation, written in the 1740s it represent the culmination of his experimentation with monothematic instrumental works.

English: The Well-Tempered Clavier is 2 sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard (harpsichord, clavichord, organ) dated 1722, composed as a didactic tool for aspiring youth.   Tweny years later he compiled a 2nd book of the same kind, which became known as The Well-Tempered Clavier, Part Two

 

Haydn (figure of a rhythmic motive): * see EndNote<B>

see Chapter II page 78

 

Praxiteles (figure of an athlete): * see EndNote<B>

see Chapter VII, page 226 and above 264, 268

 

fresco (end):

Spengler defines the end of fresco art for the Apollonian Culture in his TABLE II. "CONTEMPORARY" CULTURE EPOCHS.  It is stage 4 (Perfection of an intellectualized form-language) of the Late Period but it comes before the CIVILZATION stage.  The artist who represents this end is Zeuxis, who lived during the 5th century BC.

and see Chapter VI page 207

 

oil-painting (end):

Spengler defines the end of oil painting for the Faustian Culture in his TABLE II. "CONTEMPORARY" CULTURE EPOCHS.  It is stage 4 (Perfection of an intellectualized form-language) of the Late Period but it comes before the CIVILZATION stage.  The artists who represent this end are Watteau (1684–1721) and Goya (1746–1828).

and see Chapter II page 87, Chapter III page 108 (Wateau);

Chapter VII page 221 (Goya)

 

Polycletus:

see Chapter I page 27, Chapter III pages 112, Chapter V page 177

 

Phidias:

See Chapter I page 23, Chapter VI page 207

 

Paeonius:

see above page 263

 

Alcamenes:

flourished circa 450 BC, Greek sculptor of Lemnos & Athens, younger contemporary of Phidias and noted for the delicacy and finish of his works, known for the sculptural decoration of the Parthenon & the most eminent sculptor in Athens after the departure of Phidias for Olympia; no secure link to any surviving sculptures.

 

Scopas:

see above page 264

 

Praxiteles:

see Chapter VII, page 226 and above pages 264, 268

 

Lysippus:

see Chapter II, Numbers, page 90

 

Bach:

See Chapter I page 27, Chapter II page 62, Chapter III page 112, Chapter VI page 183, Chapter VII page 219, 220, 222, 230,231 and above page 283

 

Handel;

see Chapter VII page 231 and above page 283

 

Gluck:

see Chapter II page 78, Chapter V page 177 and above page 260

 

Stamitz:

see Chapter V page 177 and Chapter VII page 231

 

younger Bachs:

This is a reference to the 2 sons of JS Bach: CPE Bach and Johann Christian Bach.

CPE Bach- 1714-88, 5th son of JS Bach, German musician & influential composer working during the transition between the Baroque style and the new Classical style; his personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. His dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.

​

Johann Christian Bach- 1735-82, 18th offspring & youngest son of JS Bach, German composer of the Classical era, following a spell in Italy, he moved to London in 1762 where he became known as "the London Bach" or "the English Bach"; noted for playing a role in influencing the concerto styles of Haydn and Mozart

 

Haydn:

see above and Chapter II page 78

 

Mozart:

see Chapter I, page 44, Chapter II page 78, Chapter III page 108, Chapter VI page 207

 

Beethoven:

see Chapter II, page 81, Chapter V page 177, Chapter VIII page 277

 

long-forgotten instruments: * see EndNote <C>

Musical instruments used in the Baroque period were partly used before that age and some are still in use (with changed technology).  Some were invented during the Baroque period; some fell out of popular use after this period.  Notably as the Baroque focus on quiet chamber music faded, and larger, louder orchestral works were composed, quieter instruments were abandoned in favour of louder counterparts.