[278]. The struggle to fix the problem is visible in the series of “Apollo-figures.” See Déonna, Les Apollons archaïques (1909).
[279]. Woermann, Geschichte der Kunst, I (1915), p. 236. The first tendency is seen in the Samian Hera of Cheramues and the persistent turning of columns into caryatids; the second in the Delian figure dedicated to Artemis by Nicandra, with its relation to the oldest metope-technique.
[280]. Miletus was in a particular relation with Egypt through Naucratis.—Tr.
[281]. Most of the works are pediment-groups or metopes. But even the Apollo-figures and the “Maidens” of the Acropolis could not have stood free.
[282]. V. Salis, Kunst der Griechen (1919), pp. 47, 98 et seq.
[283]. The decisive preference of the white stone is itself significant of the opposition of Renaissance to Classical feeling.
[284]. All Greek scales are capable of reduction to “tetrachords” or four-note scales of which the form E—note—note—A is typical. In the diatonic the unspecified inner notes are F, G; in the chromatic they are F, F sharp; and in the enharmonic they are E half-sharp, F. Thus, the chromatic and enharmonic scales do not provide additional notes as the modern chromatic does, but simply displace the inner members of the scale downwards, altering the proportionate distances between the same given total. In Faustian music, on the contrary, the meaning of “enharmonic” is simply relational. It is applied to a change, say from A flat to G sharp. The difference between these two is not a quarter-tone but a “very small” interval (theory and practice do not even agree as to which note is the higher, and in tempered instruments with standardized scales the physical difference is eliminated altogether). While a note is being sounded, even without any physical change in it, its harmonic co-ordinates (i.e., substantially, the key of the harmony) may alter, so that henceforth the note, from A flat, has become G sharp.—Tr.
[285]. In the same way the whole of Russian music appears to us infinitely mournful, but real Russians assure us that it is not at all so for themselves.
[286]. See articles under these headings in Grove’s “Dictionary of Music.”—Tr.
[287]. See Vol. II, p. 238.