[307]. Environs of Rome. They date from the late 17th and the mid-18th centuries respectively; the gardens of the V. Ludovisi were laid out by Le Nôtre.—Tr.
[308]. That is, the expression for the sum of a convergent series beyond any specified term.—Tr.
[309]. See Vol. II, pp. 117 et seq.
[310]. In Classical painting, light and shadow were first consistently employed by Zeuxis, but only for the shading of the thing itself, for the purpose of freeing the modelling of the body painted from the restriction of the relief-manner, i.e., without any reference to the relation of shadows to the time of day. But even with the earliest of the Netherlanders light and shade are already colour-tones and affected by atmosphere.
[311]. The brilliant polish of the stone in Egyptian art has a deep symbolic significance of much the same kind. Its effect is to dematerialize the statue by causing the eye to glide along its exterior. Hellas on the contrary manifests, by its progress from “Poros” stone, through Naxian, to the translucent Parian and Pentelic marbles, how determined it is that the look shall sink right into the material essence of the body.
[312]. See Vol. II, pp. 314 et seq.
[313]. The life and teaching of St. Francis were, morally and æsthetically alike, the centres of inspiration for Cimabue, Giotto and the Italian Gothic generally.—Tr.
[314]. Der nordische im Grenzenlose schweifende Pantheismus.
[315]. On the following page is a translation of this chorus.—Tr.
Raphael. The Sun outsings the brother-spheres