[317] Fine examples of this are Rembrandt's Descent from the Cross in the Munich Gallery, and the group of mourners in Tintoret's Great Crucifixion.
[318] They have in this respect been well contrasted with the characters of Euripides in the play of Aristophanes which particularly emphasizes the difference between the heroic type of Aeschylus and the realism of Euripides, "The Frogs of Aristophanes," text and translation of B. B. Rogers; see Introd., pp. XVIII, XIX, XLV.
[319] As to ugliness and its treatment by Hegel, see Professor Bosanquet's "History of Aesthetik," pp. 338, 355, and generally pp. 432-436.
[320] That is sculpture. Hegel calls it im Plastischen.
[321] An ideal with Hegel is not necessarily an image of the mind, but far more generally the concrete realization of life.
[322] He should have added Tintoretto at least. What could be more pertinent than his Sages in the Palazzo Reale in Venice.
[323] Applies to the study rather than the talent exercised.
[324] Aber ganze Grundbild des Charakters darstellen.
[325] Den geistigen Sinn und Charakter. He means the entire spiritual impression, heart, soul, and intelligence, with its practical effect in substantive character.
[326] I think this is implied here in Hegel's use of the words verarbeitet durch den Geist. But it may mean "in the face as worked upon the soul within the person portrayed."