[337] Lit., "More free from struggling." Compare Saint John and Saint Paul as examples on the higher levels.
[338] That is Italian painting.
[339] Hegel's delight in Italian opera is well known to readers of his correspondence. In the above fine passage he to some extent unbelts himself from his ordinary tone of rather austere reticence.
[340] The distinction seems to be between the more formal unity of personality and the peculiarly seductive charm of Italian art. It is rather a fine one and it seems to me rather confusing. Moreover I do not quite see the pertinency of the simile of a Psyche that is wafted as a butterfly even round blooms that have been spoiled of their treasure, for such I understand to be the sense of verkümmerte Blumen. A butterfly comes into no active relation with such unless the idea is pictorial decoration. But possibly Hegel was thinking of his reference to Dante, and in that case employed the metaphor loosely, rather too loosely I should say.
[341] "Stunted" is perhaps the best translation. The fault of the simile lies in its superficiality. It does not penetrate the conception Hegel has before him.
[342] Giotto, Mantegna, Carpaccio, Masaccio, would be leading names in point here. Hegel mentions two himself lower down.
[343] "Ital. Forsch.," vol. II, p. 4.
[344] Grelle. That is harsh and flagrant outline.
[345] Ihrer must refer I think to the Italians, though the sentence might mean, "In contrast to these Greek productions."
[346] Als Ueberzug. The expression suggests it was used as a facial glaze or varnish.