[297] Ein ideelles Ineinander. By ideal Hegel means apparently that the distinctions of tint fine away beyond the grasp of sense vision. This of course is true in all natural colouring. Possibly he may mean that the idea of Life is contributive to the result.
[298] Hardly a just simile for the reason that, as Hegel himself points out, flesh does not reflect external objects.
[299] Den Schein innerer Belebung. This expression seems to prove that Hegel uses the word ideel in its ordinary sense of spiritual ideality.
[300] Als selbst lebendiges Ganze. The colour must appear as itself a part of the vitality, not a mere covering.
[301] Vertreibung. What Hegel exactly means I am not sure, probably finish by over-paintings.
[302] Fresco painting is strictly in tempera. I suppose Hegel has here before him the two processes of tempera painting on the wet wall of plaster and tempera painting on some other dry surface.
[303] Zu grosser innerer Klarheit und schönen Leuchten. I give what appears to me to be the meaning.
[304] I presume Hegel understands by Deck und Lasurfarben the distinction of our opaque and transparent colours such as flake white and the madders or umbers. He clearly refers to glazes.
[305] Die Duftigkeit, Magie in der Wirkung des Kolorits. This is a difficult passage to translate, and I am not quite sure what Hegel is aiming at. He seems to have in his mind both the ideal atmosphere of a composition and the presence of a personal style.
[306] Hegel has already related the effects considered to the artist's personality. He now endeavours to examine more closely what is implied in the relation.