The decline of the West

by Oswald Spengler

• Nagasena, materialism, [356]
• Names, as overcoming fear, [123];
  • concretion of numina, [397]
• Napoleon I, analogies, [4], [5];
  • romantic, [38];
  • imperialism, [42], [149-151];
  • as destiny and epoch, [142], [144], [149];
  • egoism, [336];
  • morale, [349];
  • and toil for future, [363];
  • contemporaries, table [iii]
• Napoleonic Wars, and cultural rhythm, [110n.]
• Nardini, Pietro, orchestration, [231]
• Natural science, mechanics and motion, cultural basis of postulate, [377], [378];
  • fact and theory, cultural images, [378-380];
  • Western, and depth-experience, tension, [380], [386], [387];
  • and religion, cultural basis, [380-382], [391], [411], [412], [416];
  • scientific period of a Culture, [381];
  • cultural relativity, [382];
  • cultural nature ideas and elements, [382-384];
  • statics, chemistry, dynamics, cultural systems, [384];
  • cultural atomic theories, [384-387];
  • thinking-motion problem, system and life, [387-389];
  • mechanical and organic necessity, [391];
  • cultural attitude on mechanical necessity, [392-394];
  • things and relations, [393];
  • conservation of energy and Western concept of experience, [393];
  • theory and religion, Western God-feeling, [395];
  • naming of notions, [397];
  • and atheism, [409];
  • Western dogma of undefinable force, provenance, stages, [412-417];
  • as to Western statics, [414], [415];
  • mass concept of Civilization, work-idea, [416], [417];
  • disintegration of exact, contradictions, [417-420];
  • physiognomic effect of irreversibility theory, [420-424];
  • effect of radioactivity, [423];
  • decay, [424];
  • morphology, convergence of separate sciences, [425-427];
  • anthropomorphic return, [427].
  • See also [Nature]
• Natural selection, and Western ethics, Superman, [371]. See also [Darwinism]
• Naturalism, antiquity, [33], [207], [288];
  • in art, [192]
• Nature, contrast of historical morphology, [5], [7], [8];
  • definite sense, and history, [55], [57], [94-98], [102], [103];
  • and learning, [56];
  • mathematics as expression, [57];
  • as late world-form, [98];
  • mechanistic world-conception, [99], [100];
  • systematic morphology, [100];
  • and causality and destiny, [119], [121], [142];
  • cultural viewpoints, [131], [263];
  • timelessness, [142], [158];
  • historical overlapping, living harmonies, [153], [154], [158];
  • and intellect, [157];
  • personal connotations, [169];
  • soul as counter-world, [301];
  • and reason, [308].
  • See also [Causality]; [History]; [Mathematics]; [Natural science]; [Space]; [Spirit]
• Naucratis, and Miletus, [225n.]
• Naumann, Johann C., architecture, [285]
• Nazzâm, on body, [248];
  • contemporaries, table [i]
• Necessity, mechanical and organic, [391]
• Nemesis, character of Classical, [129], [320]. See also [Destiny]
• Neo-Platonists, as Arabian, [72];
  • and pneuma, [216];
  • and body, [248];
  • dualism, [306];
  • unimposed mystic benefits, [344n.]
• Neo-Pythagoreans, and body, [248];
  • and mechanical necessity, [393]
• Nerva, forum, [198], [215]
• Nestorianism, and art, [209], [211];
  • music, [228];
  • and home, [334];
  • as alchemistic problem, [383];
  • contemporaries, table [i]
• Neumann, Karl J., on Roman myths, [11]
• New York City, and megalopolitanism, [33]
• Newton, Sir Isaac, and “fluxions”, [15n.];
  • artist-nature, [61];
  • mathematic and religion, [70], [396], [412];
  • mathematical discoveries, [75], [78], [90];
  • and time and space, [124], [126];
  • light theory, and Goethe’s theory, [157n.], [158n.], [422];
  • dynamic world-picture, [311];
  • deeds of science, [355];
  • and motion-problem, [390], [391];
  • and metaphysics, [366];
  • and force and mass, [415], [417];
  • contemporaries, table [i]
• Nibelungenlied, and Homer, [27];
  • esoteric, [328];
  • and Western Christianity, [400-402]
• Nicæa, Council of, and Godhead, [249]
• Nicephorus Phocas, and Philopatris dialogue, [404n.]
• Nicholas of Cusa, astronomical theory, [69];
  • religion and mathematic, [70];
  • musical association, [236];
  • contemporaries, table [i]
• Nicholas of Oresme, and beginning of Western mathematic, [73], [74], [279];
  • art association, [229];
  • Occamist, [381]
• Niese, Benedictus, on Roman myths, [11]
• Nietzsche, Friedrich Wilhelm, influence on Spengler, [xiv], [49n.];
  • provincialism, [24];
  • Classical ideology, [28], [28n.];
  • on city life, [30];
  • unpopularity, [35];
  • practical philosophy, [45];
  • and historical unity, [48];
  • and detachment, [93];
  • and Wagner, [111], [291], [370];
  • on history and definition, [158];
  • on art witnesses, [191];
  • autumnal accent, [241];
  • on Greeks and colour, [245];
  • on “brown” music, [252];
  • on Greeks and body, [260];
  • will and reason, [308];
  • and morale, [315], [342], [346];
  • and home, [335];
  • actuality of “Mann”, [347], [350];
  • and Civilization, [352];
  • character of Nihilism, [357];
  • and diet, [361];
  • nebulous aim, [363], [364];
  • and mystic philosophy, [365n.];
  • and mathematics, [366];
  • ethics and metaphysics, [367];
• materialism, [368];
  • and evolution and Socialism, [370-372];
  • position in Western ethics, [373], [374];
  • on pathos of distance, [386];
  • dynamic atheism, [409];
  • contemporaries, table [i]
• Niflheim, lack of materiality, [403]
• Nihilism, and finale of a Culture, [352];
  • cultural manifestations, [357]
• Nirvana, ahistoric expression, [11], [133];
  • and zero, [178];
  • conception, [347], [357], [361].
  • See also [Buddhism]
• Nisibis, and Arabian art, [209]
• Northmen, discoveries, [330]
• Norwich Cathedral, simplicity, [196]
• Notre-Dame, Madonna of the St. Anne, [263]
• Nude, in Classical art, necessity, [130], [260-262], [317];
  • cultural basis of feeling, [216], [270], [272];
  • as element of Classical Culture only, [225]
• Nürnberg, loss of prestige, [33];
  • church statuary, [103];
  • church and styles, [205];
  • as religious, [358]
• Numa, cult, [185];
  • contemporaries, table [i]
• Number, chronological and mathematical, [6], [7], [70], [97];
  • defined, [67];
  • numbers and mortality, [70];
  • Arabian indeterminate, [72];
  • Western Culture and functional, [74], [75], [90];
  • Western attitude and notation, [76], [332n.];
  • symbolism, [82], [165];
  • astronomical, [83], [332n.];
  • cultural attitudes, [88];
  • and the become, [95];
  • and numbering, [125];
  • Indian conception, [178];
  • functional, and causality, [393].
  • See also [Mathematics]
• Numina, naming, [397]. See also [Religion]
• Nyaya, contemporaries, table [i]

• Oak, as symbol, [396]
• Occamists, physical theory, [381], [389]
• Odo, Bishop, as warrior, [349n.]
• Odysseus, as enduring, [203]
• Okeghem, Joannes, music, [130];
  • and popularity, [243]
• Oken, Lorenz, and dualism, [307]
• Old Kingdom, and care, [137];
  • contemporaries, tables [ii], [iii]
• Old Nordic art, as Arabian, [215]
• Oldach, Julius, act and portrait, [271n.]
• Omar, Mosque of, characteristics, [200n.]
• Ommayad period, homology, [111]
• Opera, and orchestra, [230]
• Oracle, Classical, [147]
• Oratorio, and orchestra, [230]
• Orchomenos, funeral customs, [135]
• Oreads, passivity, [336]
• Oresme. See [Nicholas of Oresme]
• Organ, and Western devotions, [396]
• Origen, and dualism, [306];
  • morale, [348];
  • contemporaries, table [i]
• Ormuzd, Persian God, [312]
• Ornament, qualities and aim, [191-194];
  • opposition to imitation, [194-196];
  • building and its symbolic decoration, [196];
  • pictorial period, [197];
  • and Civilization, [197], [294];
  • in music, [228], [230], [231];
  • Renaissance, [233n.], [238].
  • See also [Decoration]; [Imitation]
• Orpheus, cult, [185];
  • as Christian title, [408n.];
  • contemporaries of discipline and movement, table [i]
• Otto the Great, egoism, [336]
• Owen, Sir Richard, and morphology, [111]

• Pachelbel, Johann, organ works, [220]
• Pacher, Michael, colour, [250]
• Paderborn Cathedral, simplicity, [196]
• Pæonius, Nike, [263];
  • period, [284]
• Pæstum, temple, [224], [235]
• Paewati worshippers, sect, [136n.]
• Painting, perspective and geometry, [61];
  • allegorical, [219n.];
  • and form-ideal of Classical sculpture and Western music, [226], [232];
  • word and organism, [227];
  • Flemish influence in Italy, [236];
  • Renaissance fresco to Venetian oil, line to space, [237], [279-281];
  • development of background in Western, [239];
  • form and content, outline and colour, [242];
  • cultural expression and popularity, [243];
  • oil, as Western prime phenomenon, period, [244], [281-283];
  • Classical and Western colours, [245-247];
  • outdoor and indoor, [247];
  • symbolism in brushwork, [249];
  • of Western Civilization, [251];
  • Baroque portraits, [265];
  • and destiny of Western art, [276n.];
  • Leonardo and discovery, spiritual space, [277-280];
  • Western studio-brown, pictorial chromatics, [250], [288];
  • Classical limitation, [283], [287];
  • full meaning of Impressionism, [285-287];
  • 19th Century episode, plein-air, [288];
  • German school and grand style, [289];
  • Baroque and concept of vector, [311];
  • and time of day, [325];
  • Western, and spectator, [329];
  • Western, and contemporary natural science, [417];
  • contemporary cultural epochs, table [ii].
  • See also [Art]; [Portraiture]
• Palazzo Farnese, style, [205];
  • Michelangelo’s cornice, [275]
• Palazzo Strozzi, style, [234];
  • and artistic sentiment, [272]
• Palermo, and Arabian Culture, [211], [216]
• Palestrina, Giovanni da, style, [220], [230], [323];
  • and popularity, [243];
  • Michelangelo’s heir, [274], [277];
  • God-feeling, [395]
• Palladio, Andrea, style, [30], [414]
• Palma, Jacopo, colour, [252]
• Palmyra, basilica, [209n.];
  • Baal, [407]
• Pan, idea, [403]
• Panama Canal, Goethe’s prophecy, [42]
• “Panem et circenses”, as symbol, [362]
• Pantheon, as mosque, [72], [211]
• Paolo Veronese, clouds, [240];
  • colour, [252]
• Papacy, contemporaries, table [iii]
• Paracelsus, Philippus, and chemistry, [384]
• Parallel axiom, [83], [88], [176n.]
• Paris, and Athens, [27];
  • culture city, [33];
  • autumnal city, [79];
  • Flemish influence, [236n.];
  • as irreligious, [358]
• Paris, Peace of (1763), and imperialism, [150]
• Park. See [Gardening]
• Parmenides, civic world-outlook, [33];
  • thinking and being, [387]
• Parthenon, Three Fates as type, [268];
  • horse’s head, Rubens contrast, [271];
  • popularity, [327]
• Pascal, Blaise, and actuality, [42];
  • faith and experience, [66], [394];
  • mathematic, and Archimedes, [69], [75], [90], [126];
  • and predestination, [141];
  • and Jansenists, [314n.];
  • and Western morale, [348];
  • contemporaries, table [i]
• Passion, in Christian cult, [320n.]
• Passivity, as Classical trait, [315], [320];
  • and pathos, [320n.]
• Past, and passing, [166]
• Pastels, and music, [232]
• Paterculus, C. Velleius, view of art, [205]
• Path. See [Way]
• Pathos, and passion, [320n.]
• Patina, symbolism, [253]
• Patriotism, cultural concept, [334-337]
• Patristic literature, contemporaries, table [i]
• Paul, Saint, and world-history, [18n.];
  • and dualism, [306];
  • and will, [344];
  • and diatribe, [360];
  • error on “Unknown God”, [404]
• Paulicians, and art, [209], [211];
  • iconoclasm, [262];
  • contemporaries, table [i]
• Paulinzella Monastery, simplicity, [196];
  • and antique, [275n.]
• Pausanias, culture, [254n.];
  • on altars to unknown gods, [404n.]
• Pazzi, chapel, [313]
• Peace, Classical and Western conception, [275n.]
• Peasant, as Culture relic, [354]
• Peloponnesian War, as epoch, [149]
• Pepi. See [Phiops]
• Perception, and “alien”, [53];
  • Western transcendency, [87-89];
  • space and time as forms, [169-171], [173]
• Percival, archetype, [402]
• Pergamene art, modernity, [111];
  • composition, [244], [260];
  • gigantomachia, [291], [352];
  • actuality, [364];
  • contemporaries, table [ii]
• Pericles, homology, [111];
  • portrait, [130n.], [269];
  • and economic organization, [138];
  • morale, [349]
• Peripatos, contemporaries, table [i]
• Persians, architectural expression, [209];
  • and home, [335];
  • contemporary art periods, table [ii].
  • See also [Arabian Culture]
• Perspective, Classical attitude, [109];
  • Western painting and gardening, [240-242];
  • as soul-expression, [310n.];
  • Western, and astronomy, [330]
• Perugino, technique, [249];
  • and portraiture, [272];
  • and artistic change, [279];
  • simplicity, [280]
• Pessimism, and Spengler’s theories, [xiv], [40]
• Peter the Great, and Europe, [16n.]
• Peterborough Cathedral, simplicity, [196]
• Petra, Baal, [407]
• Petrarch, Francesco, analogy, [4];
  • historic consciousness, [14];
  • narrow Classicalism, [29], [275]
• Petrinism, Tolstoi’s connection, [309]
• Phallus, as symbol, cult, [136], [267], [320]
• Phidias, contemporary mathematic, [78], [90];
  • and portraiture, [130n.];
  • and soulless body, [225], [267];
  • popularity, [243];
  • and self-criticism, [264];
  • and marble, [276];
  • and Handel, [284];
  • period, [284];
  • as religious, [358];
  • contemporaries, table [ii]
• Philanthropy, Aristotle’s, [351]
• Philippe de Vitry, and counterpoint, [229n.]
• Philo, and body, [248];
  • and Jesus, [347]
• Philopatris dialogue, source, [404n.]
• Philosopher’s Stone, as symbol, [248], [307]
• Philosophy, truth and individual attitude, [xv];
  • natural and historical, [7], [8];
  • anonymous Indian, [12];
  • provincialism, [22], [23];
  • epochal limitations, cultural boundaries, [41], [46], [364], [367];
  • test of value, actuality, [41-43];
  • present-day Western, and cultural destiny, [43-45];
  • development of Western practical, [45];
  • scepticism as final Western, [45], [374];
  • of becoming and become, [49n.];
  • and mathematics, [56], [64], [366];
  • Kant’s postulates, [59];
  • comparative forms of knowledge, [60];
  • and names, [123];
  • scientific, of time, [124];
  • tabulation of categories, [125];
  • and death, [166];
  • Western art association, [229];
  • of Culture and Civilization, [354], [355];
  • cultural questions, early posing, [364];
  • course within each Culture, [364];
  • metaphysical and ethical periods, [365-367].
  • See also [Ethics]; [Metaphysics]; [Spirit]
• Phiops, Western contemporary, [202n.];
  • statue, [265]
• Phlogiston theory, Stahl’s, [384]
• Phœnicians, and discovery, [65], [333]
• Phrynichus, fine, [321]
• Physics, cautious hypotheses, [156];
  • Jesuits and theoretical, [314n.];
  • and popularity, cultural basis, [327], [328].
  • See also [Natural science]
• Physiognomy. See [Destiny]; [Portraiture]
• Picturesqueness, and historical expression, [255]
• Piero della Francesca. See [Francesca]
• Pigalle, Jean B., sculpture, [244]
• Pindar, as religious, [358]
• Pine, as symbol, [396]
• Piombo, Sebastiano del. See [Sebastiano]
• Piræus, and unknown gods, [404]
• Pisano, Giovanni. See [Giovanni]
• Pisistratidæ, as period of fulfilment, [107]
• Planck, Max, atomic theory, [385], [419]
• Plane, significance in Egyptian architecture, [189]
• Plastic. See [Sculpture]
• Plato, ahistoric consciousness, [9], [14];
  • and clepsydra, [15];
  • provincialism, [22];
  • and actuality, [42];
  • philosopher of the becoming, [49n.];
  • metaphysics and mathematics, [56], [67], [69], [71], [84], [90], [366];
  • and the irrational, [66];
  • and Goethe’s “mothers”, [70];
  • and mechanistic world-conception, [99];
  • foreshadowing by, [111];
  • and the Almighty, [124];
  • Kant on, [125];
  • as Aristotle’s opposite, [159];
  • anamnesis, [174];
  • and idolatry 268n.;
  • on soul, [304], [305];
  • and ego, [311];
  • and ethics, [354];
  • and mystic philosophy, [365n.];
  • and science and religion, [394];
  • contemporaries, table [i]
• Plein-air, as Civilization painting, [252];
  • characterized, [288]
• Pliny, on Mesopotamian temples, [210n.];
  • on Lysistratus, [269];
  • on Lysippus, [287];
  • as collector, [425]
• Plotinus, world, [56];
  • and philosophical transition, [72];
  • and vision, [96];
  • homology, [111];
  • and body, [248];
  • and dualism, [306];
  • and Jesus, [347];
  • and Arabian Culture, [383];
  • and mechanical necessity, [393];
  • contemporaries, table [i]
• Plutarch, as biographer, [14], [316];
  • and dualism, [306]
• Pneuma, as Arabian principle, [216], [329];
  • and eyes in Arabian art, [329].
  • See also [Dualism]
• Pöppelmann, Daniel, architecture, [285]
• Poetry, infinite space in Western, [185];
  • Western, as confession, [264], [273];
  • Western and Classical lyric, [286], [324].
  • See also [Drama]; [Literature]
• Poincaré, Henri, on mathematical vision, [61n.]
• Point, and Western geometry, [74], [82], [89]
• Point de vue, in Rococo parks, [240]
• Polar discovery, as symbol, [335]
• Polis, as Classical symbol, [83], [147], [334]
• Polish, as symbol in art, [248n.]
• Politics, inadequate basis for historical deductions, [46];
  • under Classical Culture, [83], [147], [334];
  • meaning of the state, [137];
  • spatial aspect of Western, [198];
  • origin of Arabian state, [212];
  • Renaissance attitude, [273];
  • cultural conception, [334-337];
  • and atomic theories, [386];
  • contemporary cultural epochs, table [iii].
  • See also [Imperialism]; [Philosophy]; [Socialism]
• Pollaiuolo, Antonio, Dutch influence, [236];
  • goldsmith, [237]
• Polybius, ahistoric consciousness, [10]
• Polycletus, contemporary Western music, [27],112, [177], [284];
  • contemporary mathematic, [78];
  • sculpture, canon, [177], [225], [226], [231], [260n.], [283], [284];
  • present-day appeal, [255];
  • and self-criticism, [264];
  • and statue of Augustus, [295];
  • and fresco, [321]
• Polycrates, contemporaries, table [iii]
• Polygnotus, contemporaries, [112], table [ii];
  • frescoes, background, colour, [147], [183], [221], [243], [245], [283], [330]
• Pombaditha, academy, [381]
• Pompeii, wall-paintings, [287]
• Pompey the Great, army, [36]
• Pope, Alexander, type, [254]
• Popularity, cultural basis, [85], [243], [326-328], [362];
  • in colour, [246]
• Porcelain, and Western music, [231]
• Porphyry, and “antique”, [20n.];
  • academy, [281]
• Port Royal, contemporaries, table [i].
  • See also [Jansenism]
• Porta, Baccio della. See [Bartolommeo]
• Porta, Giacomo della. See [Giacomo]
• Portinari altar, [236]
• Portraiture, and biography, [12];
  • character of Classical, nude sculpture, [13], [260], [261], [264], [265], [269], [272];
  • cultural basis and expression, character and attitude, [101], [104], [216], [260], [317];
  • portrait as Western expression, [130], [261-266];
  • and Arabian Culture, [223];
  • and Gothic, [261], [266];
  • and confession, [264];
  • contrast of act and portrait, [262], [266], [270], [271];
  • depth-experience, impressionism, [266], [287];
  • child and group portraits, motherhood, [266-268];
  • Renaissance, [271-273];
  • Leonardo’s relation, [281];
  • landscape as, [270n.], [287];
  • Roman statues, [295];
  • and will, [309];
  • American, as irreligious, [358n.]
  • See also [Soul]
• Portuguese, and discovery, [333]
• Poseidon, temple of, as model, [224]
• Posidonius, and dualism, [306];
  • as collector, [425]
• Potsdam, architecture, [207]
• Poussin, Nicolas, musical analogy, [220];
  • colour, [246];
  • period, [283]
• Prag, loss of prestige, [33]
• Praxiteles, contemporary mathematic, [90];
  • sculpture, [226], [270];
  • Hermes, [264];
  • and womanhood, [268];
  • and Haydn, [284];
  • period, [284];
  • ease, [291]
• Predestination. See [Destiny]
• Present, and becoming, [54];
  • significance in Classical Culture, [63], [65-67]
• Pre-Socratics, philosophy, [41], [175], [305];
  • and mathematics, [366];
  • contemporaries, table [i]
• Prime phenomena, Goethe’s living nature, [vii], [95], [96], [105], [111n.], [113], [140], [154], [389];
  • in history, [105];
  • and destiny, [121];
  • of Western Culture, [244].
  • See also [Symbols]
• Principle, and causality, [121]
• Proclus, and Jesus, [347]
• Procopius, courtier, [207]
• Progress, as phenomenon of Civilization, [352], [361]
• Prohibition, and Civilization, [361]
• Proper, and alien, [53]
• Proportion, and function, [84]
• Propylæa, popularity, [327]
• Protagoras, conception of man, [311], [392];
  • popularity, [327];
  • and Classical morale, [351];
  • and Stoicism, [356];
  • problem, [365];
  • condemnation, [411]
• Protestantism, colour symbolism, [250];
  • of etching, [290];
  • and works, [316n.];
  • as symbol, [343].
  • See also [Reformation].
• Proud’hon, Pierre Joseph, position in Western ethics, [373]
• Providence, and destiny, [141]
• Provinces, defined, [33]
• Provincialism, philosophical and historical, [22-25]
• Prussia, great periods, [36];
  • English basis of reorganization, [150n.]
• Psalmody, Jewish, [228]
• Pseudomorphosis, Late-Classical style, [209-212], [214];
  • and image, [216];
  • music, [228]
• Psychologists, period, contemporaries, table [i]
• Psychology, “scientific”, and soul, [299-303], [313];
  • as counter-physics, [301];
  • and will and soma, [319]
• Ptolemy II Philadelphus, and ruler-cult, [405]
• Ptolemy, L. Claudius, relation of Copernicus, [139n.];
  • as copyist, [425]
• Puget, Pierre, sculpture, [244]
• Punic Wars, as classic, [36];
  • and cultural rhythm, [110n.];
  • homology, [111];
  • intensity, [333]
• Purcell, Henry, pictorial music, [283]
• Pure reason, and destiny, [120]
• Puritanism, as common cultural feature, [112];
  • and destiny, [141];
  • and imperialism, [148];
  • cultural contemporary epochs, table [i]
• Putto, as art motive, [266]
• Puvis de Chavannes, Pierre, and religious painting, [288n.]
• Pygmalion and Galatea, and marble, [276]
• Pyramids, period, [58n.], [203]
• Pyrrho, contemporaries, table [i]
• Pyrrhus, Roman war, [36]
• Pythagoras and Pythagoreans, analogy, [39];
  • and actuality, [42];
  • mathematical vision, [57], [58];
  • and Classical mathematic, [61], [62], [64];
  • new number, and fate, [65n.], [82], [90];
  • mathematic and religion, [70], [394];
  • contemporaries, [112], table [i];
  • and Copernicus, [330];
  • and mystic philosophy, [365n.];
  • and metaphysics, [366]

• Quadratures, and Archimedes’ method, [69]
• Quantum theory, effect, [419]
• Quattrocento, and Gothic, [221].
  • See also [Renaissance]
• Quercia, Jacopo della. See [Jacopo]
• Quesnay, François, economic theory, [417]

• Race-suicide, as phenomenon of Civilization, [359]
• Radioactivity, effect on natural science, [423]
• Ragnarök, Muspilli as contemporary, [400];
  • and world’s end, [400]
• Rameses II, analogy, [39];
  • and artistic impotence, [44], [294];
  • contemporaries, table [iii]
• Ranke, Leopold von, and analogy, [4], [5];
  • and historical tact, [22];
  • on historical vision, [96]
• Raphael Sanzio, Madonnas, [136], [268], [280];
  • technique, [221], [278];
  • and Titian, [227];
  • and background, [237];
  • popularity, [243];
  • colour, [245];
  • and confession, [264];
  • and portrait, [272];
  • as dissatisfied thinker, [274];
  • and fresco and oil, line and space, [279], [280]
• Raskolnikov. See [Dostoevsky]
• Rationalism, and chance, [142n.];
  • contemporaries of English, table [i]
• Ravenna, and Arabian Culture, [206], [211], [216], [235];
  • mosaics, [221], [247], [329]
• Rayski, Louis F. von, art and portrait, [271n.]
• Reason, and will, [308]
• Red, symbolism, [246]
• Reformation, conflicts in Germany, [33];
  • and Dionysiac movement, [111];
  • as common cultural epoch, [112];
  • class-opposition to Renaissance, [229];
  • contemporaries, table [i]
• Reims Cathedral, [224];
  • statuary, [267]
• Relations, and magnitudes, [84], [86]
• Relativity theory, and time, [124n.];
  • effect on natural science, [419];
  • domain, [426]
• Relief, Egyptian, [189], [202];
  • and Classical round sculpture, [225].
  • See also [Sculpture]
• Religion, reality of Classical, [10], [11], [13];
  • relation of clock and bell, [15n.], [134n.];
  • and number, [56];
  • mathematical cultural analogy, [66], [70];
  • stage in a Culture, [108], [399-402];
  • second period, sequel to Civilization, [108], [424-428];
  • Western, and “memory”, [132n.];
  • and death, [166];
  • birth of Western soul, [167];
  • and early art periods, [185];
  • cultural expression, [185-188], [399], [401];
  • Egyptian, [188];
  • Chinese, [190];
  • and imitation, [191];
  • architecture as ornament, [195];
  • Russian, [201n.];
  • Arabian architecture, [208];
  • Classical, and art, [268];
  • and plein-air painting, [288n.];
  • revelation and dualism, [307];
  • cultural soul-elements, and deities, [312];
  • and Classical drama, [320];
  • and astronomy, [330];
  • relation to Civilization, [358];
• and hygiene, [361];
  • and philosophy, [365];
  • and natural science, [380-382], [391], [411], [416];
  • Western experience and faith, [394];
  • varieties, [394];
  • and theory, [395];
  • God-feelings, [395];
  • depth-experience in Western, cathedral, organ, [395-397];
  • naming of numina, [397];
  • Classical bodied pantheon, [398], [402];
  • Western deity as force, unitary-space symbol, [398], [403], [413];
  • of primitive folk, [399];
  • elements of Western, [399-401];
  • Classical, and strange gods, [404];
  • late Classical, dislocation and monotheism, Arabian ascendency, [406-408];
  • cult of deified men, [405], [407], [411];
  • atheism as phenomenon, [408-411];
  • cult and dogma, cultural attitude, [410], [411];
  • contemporary cultural epochs, table [i].
  • See also [Death]; [Soul]; [Spirit]; creeds and sects by name
• Rembrandt, portraiture, and confession, [101], [103], [130], [140], [264], [266], [269], [281], [300];
  • contemporaries, [112], table [ii];
  • inwardness, colour, [183], [251-253];
  • etchings, nights, [187], [246], [290];
  • musical counterpart, [220];
  • and horizon, [239];
  • esoteric, [243];
  • depth, [244];
  • and body, [271];
  • period, [283];
  • impressionism, [287], [288];
  • and psychology, [319]
• Renaissance, contemporaries, [27], table [ii];
  • mathematic, [71];
  • relation to Classical, as revolt, illusion, [28n.], [132n.], [232-234], [237], [238], [252], [266], [272-274], [279], [323];
  • homology, [111];
  • and beautiful, [194];
  • and Western style, [202], [205], [206], [221], [223], [225], [244];
  • and Arabian and Gothic, [212], [234-238];
  • and polychrome sculpture, [226];
  • class-opposition to Reformation, [229];
  • ornament, [233n.], [238];
  • façades and courtyards, [235];
  • arch and column, [236];
  • park, [241];
  • and popularity, [243], [328];
  • and patina, [253];
  • and child-figures, [266];
  • and portrait, [271-273];
  • and spiritual development, [273];
  • leaders as dissatisfied thinkers, [274], [281];
  • Michelangelo, [275-277], [281];
  • Raphael, [279], [280];
  • Leonardo, [277-281];
  • and background, [237];
  • and statics, [414]
• Renoir, Pierre A., striving, [292]
• Resaïna, academy, [381]
• Research, and vision, [95], [96], [102], [105], [142];
  • historical and scientific data, [154];
  • metaphysical, [163]
• Restorations, Western attitude toward, [254]
• Resurrection, change in meaning, [135n.]
• Rhine River, as historic, [254n.]
• Rhodes, Cecil, analogy, [4];
  • and imperialism, [37], [38];
  • morale, [349], [351]
• Rhodes, as “Venice of Antiquity”, [49];
  • and Helios, [402]
• Richelieu, Cardinal, morale, [349];
  • contemporaries, table [iii]
• Riegl, Alois, on Arabian art, [208], [215]
• Riemann, Georg F. B., artist-nature, [61];
  • relation to Archimedes, [69];
  • religion and mathematic, [70];
  • notation, [77];
  • and boundlessness, [88];
  • mathematical position, [90];
  • goal of analysis, [418];
  • contemporaries, table [i]
• Riemenschneider, Tilmann, and portraiture, [270]
• Robespierre, Maximilien, adventurer, [149];
  • contemporaries, table [iii]
• Rococo, as stage of style, [202];
  • architecture and music, [231], [232], [285];
  • parks, [240];
  • contemporaries, table [ii].
  • See also [Baroque]
• Rodin, Auguste, sculpture as painting, [244], [245]
• Rogier van der Weyden, in Italy, [236]
• Roman Catholicism, colour symbolism, [247-249];
  • and music, [268n.];
  • monasticism, [316n.], [343], [348];
  • esoteric dogma, [328];
  • prelates and manly virtue, [349].
  • See also [Christianity]; [Jesuitism]
• Roman law, and cultural-language, [310n.]
• Romanesque, simplicity, [196];
  • as stage of style, [201], [202];
  • and Classical, [275n.]
• Romanticism, defined, [197];
  • and mysticism, [365n.];
  • and mathematics, [366]
• Rome, city, megalopolitanism, [32], [34]
• Rome, empire, and Classical Culture, [8];
  • imperialism, [36-38], [336];
  • and Arabian Culture, [72], [207], [208];
  • army and citizenship, [325];
  • emperor-worship, [405], [407], [411];
  • and toleration, [411].
  • See also [Classical Culture]
• Rondanini Madonna, as music, [277]
• Rondeau, origin, [229]
• Roof, as Arabian expression, [210]
• Rore, Cyprian de, in Italy, [236];
  • music, [251], [252]
• Rossellino, Antonio, and portrait, [272]
• Rossini, Gioachino, Catholicism, [268n.];
  • on Meyerbeer, [293]
• Rottmann, Karl, and grand style, [289]
• Rousseau, Jean Jacques, and naturalism, [33], [207], [288];
  • and superficially incidental, [144];
  • and imperialism, [149], [150];
  • autumnal accent, [207];
  • and Civilization, [352];
  • contemporaries, [353n.], table [i];
  • and compassion, [362];
  • and Darwinism, [369];
  • intellect and wisdom[wisdom], [409]
• Rubens, Peter Paul, colour, [253];
  • and body, [270], [271n.], [278];
  • and dynamics, [414]
• Ruins, as Western expression, [254]
• Ruler-cult, [405], [411]
• Runge, Otto P., and grand style, [289]
• Russia, and the West, [16n.];
  • stage of art, [201];
  • architecture, [211];
  • ignored art, [223];
  • will-less soul, [309];
  • culture and charity, [350]
• Rutherford, Sir Ernest, atoms as quanta of action, [385], [419]
• Ruysdael, Jakob, colour, [246];
  • period, [283]

• Sabæans, and early Christian designs, [22n.], [209n.];
  • temple-form, [210n.];
  • art, [223];
  • art contemporaries, table [ii]
• Sahu-rê, pyramid, [203]
• St. Denis, royal tombs, [261], [264]
• St. Lorenz Church, Nürnberg, and styles, [205]
• St. Mark, Venice, origins, [211]
• St. Patroclus, Soest, arcade-porch, [205]
• St. Paul without the Walls, as Pseudomorphic, [210], [210n.]
• St. Peter’s, Rome, as Baroque, [206], [238]
• St Pierre et St Paul, Moissac, ornamentation, [199]
• St. Priscilla, catacombs, paintings, [137]
• St. Vitale, Ravenna, characteristics, [200]
• Sainte-Chapelle, Paris, boundlessness, [199]
• Saints, contemporary legends, [400], table [i]
• Saivas, Lingayats, [136n.]
• Saktas, [136n.]
• Salamanca, loss of prestige, [33]
• Salvation Army, as exception, [348]
• Samarra, contemporaries, table [ii]
• Samnites, Roman war as classic, [36], [151n.]
• Samos, Hera of Cheramues, [225n.]
• Sangallo, Antonio da, Palazzo Farnese façade, [275]
• Sankhya, and Buddhism, [353n.], [356];
  • contemporaries, table [i]
• Sant’ Andrea, Pistora, Pisano’s Sibyls, [263]
• Santa Maria Novella, Florence, style, [234];
  • Flemish paintings, [236]
• Sassanids, and Arabian state, [212];
  • art [223];
  • music, [228]
• Satyrs, materiality, [403]
• Savonarola, Girolamo, and art tendencies, [233];
  • and Renaissance, [328];
  • and Western morale, [348];
  • contemporaries, table [i]
• Scarlatti, Alessandro, character of arias, [219n.]
• Scene, dramatic, cultural basis, [325]
• Scepticism, as last stage of Western philosophy, [45], [374]
• Scharnhorst, Gerhard von, army reforms, [150n.]
• Schelling, Friedrich von, and dualism, [307];
  • esoteric, [369];
  • contemporaries, table [i]
• Schiller, Johann C. F., tragic form, [147];
  • banality, [155]
• Schirazi, and dualism, [307]
• Schlüter, Andreas, architecture, [244], [245], [285]
• Schöngauer, Martin, colour, [250]
• Scholasticism, art association, [229];
  • will and reason, [305];
  • and dualism, [307];
  • cultural culmination, [365n.];
  • contemporaries, table [i]
• Schopenhauer, Arthur, and history, [7], [29], [97n.];
  • provincialism, [23], [24];
  • practical philosophy, [45], [368];
  • and mathematics, [67], [125], [366];
  • will, and reason, [308], [342];
  • and Civilization, [352];
  • and ethics, [354], [373];
  • pessimism and system, [366], [370];
  • and critique of society, [367];
  • and Darwinism, [369], [372], [373];
  • contemporaries, table [i]
• Schroeter, Manfred, on criticism of Spengler, x
• Schütz, Heinrich, Matthew Passion, [199], [244];
  • and imagination, [220];
  • pictorial music, [283];
  • God-feeling, [395]
• Science, of history, [153], [154];
  • esoteric Western, [328].
  • See also [Art]; [Mathematics]; [Natural science]; [Nature]
• Scipio, P. Cornelius, and economic organization, [138];
  • contemporaries, table [iii]
• Scopas, and self-criticism, [264];
  • and body, [270];
  • period, [284]
• Scott, Sir Walter, as historian, [96]
• Scrope, Richard, as warrior, [349n.]
• Sculpture, and proportion and function, [84];
  • Classical, as become, [97];
  • cultural basis, [216], [225];
  • form-ideal of Classical, picture-origin, [225];
  • polychrome, [226];
  • music-origin of Rococo, [231];
  • Gothic, [231], [261];
  • use of marble, [232], [249n.], [253], [276];
  • Renaissance, [235], [237], [238], [253];
  • position in Western Culture, [244];
  • Egyptian, polish, [248n.], [266];
  • bronze, [253], [276];
  • Classical expression of body as soul, [260], [261], [305];
  • Michelangelo’s attitude, [275-277], [281];
  • free Classical, and Western music, [283], [284];
  • Classical, and time of day, [325];
  • Classical, and spectator, [329];
  • contemporary cultural periods, table [ii].
  • See also [Art]; [Portraiture]
• Sebastiano del Piombo, and Raphael, [272]
• Second religiousness, period in a Culture, [xi], [108], [424-428];
  • of Rome, [306]
• Selene, as goddess, [147n.], [402]
• Seleucus, astronomical theory, [68]
• Seljuk art, contemporaries, table [ii]
• Semper, Gottfried, on style, [221]
• Seneca, L. Annæus, Stoicism and income, [33];
  • and Baroque drama, [317]
• Sentinum, battle, [151]
• Septimius Severus, favourite god, [406]
• Serapis, cult, [406]
• Serenus, as Arabian thinker, [63]
• Servius Tullius, myth, [11]
• Sesostris, court, [81];
  • as name, [206];
  • autumn of Culture, [207]
• Sethos I, contemporaries, table [iii]
• Sèvres ware, and Wedgwood, [150n.]
• Sex, naturalism, [24], [33], [207], [288];
  • problem of Civilization, [35];
  • cultural attitude, [136];
  • historical aspects, [137]
• Sforzas, Hellenic sorriness, [273]
• Shaftesbury, Earl of, and imperialism, [150]
• Shakespeare, William, tragic form and method, vision, [129], [130], [141n.], [142], [143], [220], [319];
  • Bacon controversy, [135n.];
  • and motive, [156];
• as dramatist of the incidental, [142], [146];
  • and historical material, [255];
  • and Classical drama, [323];
  • and time of day, [324];
  • scenes, [325];
  • God-feeling, [330], [395];
  • ethical passion, [347], [355];
  • and evolution, [370]
• Shang Period, contemporaries, table [iii]
• Shaw, George Bernard, sex problem, [35];
  • and history, [255n.];
  • and morale, [346], [368], [369], [373], [374];
  • superman, [350];
  • and diet, [361];
  • on Schopenhauer, [367];
  • and Socialism and Darwinism, [371], [372]
• Shih-huang-ti, career, [112n.]
• Shiva, cult, [136n.]
• Short story, Western, [318n.]
• Siegfried, archtype, [402];
  • contemporaries, table [i]
• Siena, and counter-Renaissance, [234];
  • school, [268]
• Signorelli, Luca de’, and Classicism, [221];
  • and body and colour, [239], [242], [278];
  • act and portrait, [270], [271];
  • and statics, [414]
• Sikyon, Adrastos cult, [33n.]
• Silesian wars, and cultural rhythm, [110n.]
• Simone Martini, and Gothic, [235]
• Sistine Chapel, Michelangelo’s frescos, [263], [275], [395]
• Sistine Madonna, [268], [280]
• Six Classical Systems, contemporaries, table [i]
• Skyscraper, and gigantomachia, [291]
• Sluter, Klaus, sculpture, [263]
• Smith, Adam, economic theory, [417]
• Soaring, as Western term, [397]
• Socialism, and Civilization, [32];
  • and Darwinism, [35], [370-372];
  • and economic motives, [36], [355];
  • and imperialism, [37];
  • Frederick William I’s practice, [138];
  • ethical, defined, esoteric, [328n.], [342], [347], [351], [355], [374];
  • scientific basis of ideas, [353];
  • as end-phenomenon, [356], [357];
  • and contemporaries, immaturity, [357], [358], [361];
  • irreligion, [359], [409];
  • necessity, [361];
  • dynamic qualities, and compassion, [361];
  • and work, [362];
  • and future, [363];
  • tragedy of nebulous aim, [363];
  • and lie of life, [364];
  • and political economy, [367];
  • contemporaries, table [i]
• Sociology, biological, [155];
  • and Western ethics, [367], [368]
• Socrates, ahistoric consciousness, [14];
  • ethic, [347];
  • and Civilization, [352];
  • and Stoicism, [353n.];
  • intellect and wisdom [409];
  • condemnation, [410];
  • contemporaries, table [i]
• Soest, church, [205]
• Sol Invictus, cult, [406], [406n.], [407]
• Sonata, movement, [231]
• Sophists, scientific basis, [353n.], [356];
  • and diet, [361];
  • contemporaries, table [i]
• Sophocles, ahistoric consciousness, [9];
  • tragic form and method, [129], [130], [141n.], [143], [146], [318], [321], [330], [386];
  • statue, [269];
  • deification, [405]
• Soul, and world and life, [54];
  • mathematic expression, [101];
  • of Cultures, inner image, [106], [303];
  • and predestination, [117];
  • individual, and macrocosm, [165], [259];
  • cultural designations and attributes, [183];
  • man as phenomenon, cultural expression, [259];
  • Classical “body” expression, [259-261];
  • Western expression in portrait, [261-266];
  • knowledge and faith, [299], [300];
  • as image of counter-world, [300];
  • and “exact” science, [301], [302], [313];
  • culture-language, [302];
  • cultural basis of systematic psychology, [303], [304], [307], [313], [314];
  • Classical static and Western dynamic, [304], [305];
  • Arabian dualism, [305];
  • will and reason, outer world parallels, [308];
  • Western will-culture, egoism, [308-312], [314];
  • and cultural religious concepts, [312], [358];
  • cultural basis of morale, [315];
  • dynamic, and biography, [315], [316];
  • Classical gesture, beauty, [316];
  • and cultural forms of tragedy, [317-326];
  • popularity, cultural basis, [326-329];
  • cultural relation to universe, [330-332];
  • and to discovery, [332-337];
  • and brain, [367].
  • See also [Morale]; [Portraiture]; [Spirit]
• Space, and natural morphology, [6], [7];
  • and the become, [56];
  • relation to Classical and Western Cultures, [64], [81-84], [88];
  • world-fear and creative expression, [79-81];
  • multi-dimensional, symbolism, [88], [89], [165];
  • direction and extension, [99], [172];
  • and causality and destiny, [119], [120];
  • awareness, [122];
  • and scientific time, [124], [125];
  • time as counter-concept, [126], [170], [172];
  • and death, [166];
  • world-experience and depth, [168], [169], [172];
  • perception or comprehension, [169-172];
  • cultural symbolism in depth-experience, [173-175];
  • cultural prime symbols, [174-178], [337];
  • Classical use of term, [175n.];
  • cultural basis of concepts, [179], [310];
  • and architectural and religious expression of Culture, [183-188], [198-200];
  • Egyptian and Chinese experiencing, [189-191], [201-203];
  • Western arts and prime phenomenon, [281], [282];
  • extension and reason, [308].
  • See also [Become]; [Causality]; [Depth-experience]; [Nature]; [Time]
• Spain, period of ascendency, incident and destiny, [148], [150]
• Spaniards, and discovery, [333]
• Spanish-Sicilian art, contemporaries, table [ii]
• Spanish Succession War, and cultural rhythm, [110n.];
  • as epoch, [149]
• Sparta, myth, [11];
  • and music, [223]
• Spencer, Herbert, and economic ascendency, [367];
  • contemporaries, table [i]
• Spengler, Oswald, reception of book, [ix];
  • basis of philosophy, [xiii-xv], [49n.]
• Speyer Cathedral, [185], [224]
• Spinoza, Baruch, and dualism, [307];
  • and force, [413]
• Spirit, and soul in Arabian dualism, [306].
  • See also [Body]; [History]; [Morale]; [Nature]; [Philosophy]; [Religion]; [Soul]
• Spirit land, cultural conception, [333]
• Spirit-wall, [203]
• Spitzweg, Karl, significance of colour, [252]
• Sport, and Civilization, [35]
• Stahl, Georg Ernst, chemical theory, [384]
• Stained glass. See [Glass painting]
• Stamitz, Johann K., Classical contemporary, [177];
  • and four-part movement, [231];
  • period, [284]
• State. See [Politics]
• Statics, as Classical system, [384], [393];
  • no Western concept, [414].
  • See also [Natural science]
• Statistics, and probability, [421]
• Steamship, Classical anticipation, [334]
• Stendhal, and psychology, [319]
• Stipel, and zero, [178n.]
• Stirner, Max, and morale, [346];
  • and Hegelianism, [367];
  • contemporaries, table [i]
• Stoicism, and Civilization, [32], [352];
  • and money, [33], [36];
  • practicality, [45];
  • homology, [111];
  • and state, [138];
  • and corporeality, [177];
  • weak soul, [203];
  • ethic, [315], [347], [355], [367];
  • and will, [344n.], [347];
  • scientific basis of ideas, [353];
  • as end-phenomenon, [356], [357];
  • and contemporaries, [357], [358], [361], table [i];
  • irreligion, [359], [409];
  • and diet, [361]
• Stone, as symbol, [188], [195], [206];
  • polish, [248n.]
  • See also [Architecture]; [Marble]; [Sculpture]
• Strassburg Minister, Arabian influence, [213]
• Streets, cultural attitude, [109];
  • Western aspect and depth-experience, [224], [241];
  • Egyptian aspect, [224n.]
• Strindberg, August, provincialism, [24], [33n.];
  • sex problem, [35];
  • and morale, [346], [374];
  • and Civilization, [352]
• String music, in Western Culture, [231], [252n.]
• Strzygowski, Josef, on Arabian art, [184], [209]
• Style, as cultural emanation, [108], [200], [202];
  • brave Egyptian, [201-203];
  • Chinese, [203];
  • weak Classical, [203-205];
  • history as organism, cultural basis, [205];
  • stages of each style, [206];
  • history of Arabian, [207-214];
  • and technical form of arts, [220];
  • in natural science, [387], [391]
• Suez Canal, Goethe’s prophecy, [42]
• Sufism, contemporaries, table [i]
• Suhrawardi, on body, [248]
• Suicide, cultural attitude, [204]
• Sulla, incident, [139];
  • contemporaries, table [iii]
• Sunda, islands of, Roman knowledge, [334]
• Superman, in Nietzsche and Shaw, [350], [369], [370];
  • natural selection, [371]
• Sutras, contemporaries, table [i]
• Sylvester II, pope, and clock, [15n.]
• Symbolism, in living thought, xiii;
  • symbols of a culture, [4], [13], [31];
  • in historical morphology, [7], [46];
  • clock and bell, [14], [131], [134n.];
  • money and Civilization, [34];
  • in the become, [101];
  • actuality, [101], [168];
  • symbols (names) and fear, [123], [193], [397];
  • of funeral customs, [134], [135];
  • of museums, [135];
  • of world-history, [163];
  • symbols defined, [163];
  • spatiality, [165];
  • and knowledge of death, [166];
  • kind of extension as cultural symbol, [173-175];
  • cultural prime symbols, plurality, [174], [179], [180], [189], [190], [196], [203], [337];
  • writing as cultural symbol, [197n.];
  • window, [199], [210], [224];
  • in colour and gold, [245-249];
  • as replacing images, [407]
• Synagogues, patterns, [211n.]
• Syncretism, architectural expression, [209];
  • cults, [228];
  • contemporaries, table [i]
• Syracuse, culture city, [32];
  • and Plato, [42]
• Syria, music of sun-worship, [228];
  • contemporaries of art, table [ii].
  • See also [Arabian Culture]

• Taboo, idea, [80];
  • effect of naming, [123];
  • side of art, [127].
  • See also [Religion]
• Tacitus, Cornelius, ahistoric consciousness, [10], [11];
  • limited background, [132], [133]
• Talleyrand-Périgord, Charles de, on life before 1789, [207]
• Talmud, dualism, [306];
  • determinism, [307];
  • and nature, [393];
  • contemporaries, table [i]
• Tanis, Hyksos Sphinx, [108], [262]
• Tanit, as deity, [406]
• Tao, principle, [14], [190], [203], [228];
  • perspective, [311n.]
• Tarquins, myth, [11];
  • contemporaries, table [iii]
• Tartessus, realm, [332n.]
• Tartini, Giuseppe[Giuseppe], orchestration, [231];
  • violin story, [276n.]
• Tasso, Torquato, and fixed scene, [325]
• Taygetus, Mount, Lycurgus as local god, [11]
• Technics, and future of Western Culture, [41], [44]
• Technique, and theory, [395]
• Teleology, as caricature, [120]
• Telephus Frieze. See [Pergamene]
• Telescope, as Western symbol, [331]
• Tell-el-Amarna, art, [193n.], [293]
• Tellez, Gabriel. See [Tirso de Molina]
• Tellus Mater, materiality, [403]
• Temperature, and dynamics, [414]
• Templum, as cult-plan, [185]
• Tension, as Western principle, [386]
• Ten Thousand, expedition, as episode, [147], [336n.]
• Terpander, music, [223]
• Thales, and problem of knowing, [365], [381]
• Thalestas, music, [223]
• Thebes, autumnal city, [99]
• Themistocles, ahistoric consciousness, [9];
  • morale, [349]
• Theocritus, irreligion, [358]
• Theory, and fact, [378];
  • and religion, [395]
• Theosophy, conversion, [346]
• Theotokos, and Mary-cult, [137n.], [267], [268]
• Theresa, Saint, and Western morale, [348]
• Thermodynamics, first law and energy, [413];
  • second law, entropy, [420]
• Theseus legends, contemporaries, table [i]
• Thing-become. See [Become]
• Thing-becoming. See [Becoming]
• Thinite Period, contemporaries, tables [ii], [iii]
• Thinker, defined, [xiii]
• Third Kingdom, as Western conception, [363];
  • and lie of life, [364]
• Thirty Years’ War, as epoch, [149]
• Thoma, Hans, painting, [289]
• Thomas Aquinas, influence of Joachim of Floris, [20];
  • and destiny, [141];
  • ethic, [309];
  • religion, [394];
  • contemporaries, table [i]
• Thoroughbass, and geometry, [61];
  • rise, [230]
• Thorwaldsen, Albert, sculpture, [245]
• Thothmes, workshop, [193n.]
• Thucydides, ahistoric consciousness, [9];
  • limited background, [10], [132], [133n.]
• Thunder-pattern, [196]
• Thuthmosis III, maturity of culture, [94];
  • contemporaries, table [iii]
• Tiberius, as episode, [140];
  • contemporaries, table [iii]
• Tiepolo, Giovanni Battista, painting, [283];
  • ease, [292]
• Time, and historical morphology, [6];
  • and history, problems, [49], [95], [103], [158];
  • and direction, [54], [56];
  • and mathematics, [64], [125], [126];
  • enigma, as word, effect of naming, [79], [121-123];
  • direction and extension, [99], [172];
  • and destiny and causality, [119], [120];
  • unawareness, [122];
  • mechanical conception, [122];
  • “space['“space] of time”, [122n.];
  • and Relativity, [124n.], [419];
  • and space, scientific explanation, counter-concept, [124-126], [170];
  • ahistoric and historic drama, cultural basis, [130];
  • cultural symbolism of clock, [131], [134];
  • and cause and incident, [142];
  • as feeling, [154];
  • and nature, [158], [387-391];
  • past and transience, [166];
  • direction and dimension, [169n.];
  • and depth, [172], [173];
  • and imitation and ornament, [193-195], [197];
  • direction and will, [308];
  • direction and aim, [361].
  • See also [Becoming]; [Destiny]; [History]; [Space]
• Time of day, cultural attitude, [324], [325]
• Tintoretto, background, [239]
• Tiresias, cult, [185]
• Tirso de Molina, and unities, [323]
• Tiryns, funeral customs, [135]
• Titian, period, [108];
  • technique, brushwork, [221], [249];
  • and Raphael, [227];
  • and colour, [242], [252];
  • and popularity, [243];
  • portraits as biography, [264];
  • and body, [271];
  • Baroque, [274];
  • impressionism, [286];
  • contemporaries, table [ii]
• Title, symbolic importance, [408n.]
• Toleration, cultural attitude, [343], [404], [410], [411]
• Tolstoi, Leo, and Europe, [16n.];
  • provincialism, [24];
  • on notion of death, [166];
  • philosophy, [309]
• Totem, side of art, [128]. See also [Religion]; [Taboo]
• Tragedy. See [Drama]
• Trajan, analogy, [39];
  • and Arabian art, [211];
  • forum, [215];
  • contemporaries, table [iii]
• Transcendentalism, Western, [311]
• Transience, notion, [166]
• Trecento, so-called Renaissance, [233n.]
• Trent, Council of, Jesuit domination, [148];
  • and Western Christianity, [247];
  • and church music, [268n.];
  • and Western morale, [348]
• Trigonometry, contemporaries, table [i]. See also [Mathematics]
• Trinity, as physical problem, [383]
• Trojan War, and Crusades, [10n.], [27]
• Troubadours, imitative music, [229]
• Truth, relativity, cultural basis, [xiii], [41], [46], [60], [146], [178-180], [304], [313], [345]
• Tscharvaka, contemporaries, table [i]
• Tsin, contemporaries, [37], table [iii]
• Turfan, Indian dramas, [295]
• Turgot, Anne R. J., economic theory, [417]
• Tuscany. See [Florence]; [Renaissance]
• Tusculum, battle, [349n.]
• Twelfth Night, [325]
• Twilight of the Gods, Christian form, [400]
• Tyche, as deity, [146]
• Tzigane music, improvisation, [195]

• Uhde, Fritz K. H. von, and religious painting, [288n.]
• Ulm Minster, as model, [224]
• Unities, dramatic, Classical and Western attitude, [323]
• Universe, cultural attitude, [330-332]
• Upanishads, contemporaries, table [i]
• Usefulness, cult, [155], [156]
• Uzzano bust, Donatello’s, [272]

• Vaishnavism, [136n.]
• Valcashika, contemporaries, table [i]
• Valhalla, conception, [186], [187];
  • history, [400];
  • and unitary space, [403]
• Valkyries, and unitary space, [403]
• Valmy, battle, Goethe and significance, [149]
• Van Dyck, Anthony, musical expression, [250]
• Varangians, movement-stream, [333n.]
• Varro, M. Terentius, classification of gods, [11];
  • on religions, [394]
• Varyags, movement-stream, [333n.]
• Vasari, Giorgio, on imitation, [192]
• Vase-painting, Classical, and time of day, [226], [325];
  • Renaissance, [237]
• Vatican, Raphael’s frescoes, [237], [279];
  • Michelangelo’s, [263], [275], [395]
• Vaux-le-Vicomte, park, [241]
• Vector, concept and Baroque art, [311];
  • and motion, [314]
• Vedanta doctrine, [352], [355];
  • contemporaries, table [i]
• Vedas, homology, [111];
  • contemporaries, table [i]
• Vegetarianism, and Civilization, [361]
• Velasquez, Diego, musical expression, [250];
  • and body, [271];
  • period, [283];
  • as religious, [358]
• Venice, and Arabian Culture, [211], [216], [235];
  • art ascendency, [224];
  • school of painting, [227], [281];
  • music, [230], [236], [282];
  • and Renaissance, [273].
  • See also [Titian]
• Venus and Rome, temple, [211]
• Verlaine, Paul, autumnal accent, [241]
• Vermeer, Jan, technique, [221];
  • colour, [251], [253];
  • period, [283]
• Veronese, Paolo. See [Paolo]
• Verrocchio, Andrea, sculpture, Colleone statue, [235], [238], [272];
  • goldsmith, [237];
  • and portrait, [271];
  • anti-Gothic, [275n.]
• Versailles, park, [241]
• Vesta, materiality, [403]
• Viadana, Lodovico, music, [230]
• Vienna, master-builders, [207];
  • chamber music, [232]
• Vieta, François, significance of algebraic notation, [71]
• Vignola, Giacomo, architecture, liberation, [87], [313], [412]
• Village Sheikh, statue, [265]
• Violin, as Western symbol, [231], [252n.]
• Viollet-le-Duc, Eugene E., and restorations, [254n.]
• Virtue, cultural concepts of manly, [348]. See also [Truth]
• Vishnu, and Krishna, [136n.]
• Vision, and history and art, [95], [96], [102], [142]
• Vitruvius, and arch and column, [204]
• Völuspá, unitary space, [185]. See also [Eddas]
• Voltaire, contemporary mathematics, [66];
  • and imperialism, [150];
  • contemporaries, table [i]
• Voluntas, meaning, [310n.]
• Vulturnus, materiality, [403]

• Wagner, Richard, sensuousness, [35];
  • and popularity, [35], [327];
  • foreshadowing by, [111];
  • modernity, [111];
  • and imagination, [220];
  • end-art, [223], [425];
  • impressionism, and endless space, [282], [286], [292];
  • and form and size, [291], [352];
  • striving, [292];
  • and psychology, [319];
  • and Civilization, [352];
  • character of Nihilism, [357];
  • irreligion, [358];
  • nebulous aim, [363], [364];
  • and lie of life, [364];
  • and Nietzsche, [370];
  • and socio-economic ethics, [370], [372], [373];
  • forest-longing, [397]
• Wallenstein, Albrecht von, horoscope, [147];
  • contemporaries, table [iii]
• Walther von der Vogelweide, lyrics, [324]
• Wang-Cheng, contemporaries, table [iii]
• Wang Hü, imperialism, [37]
• Washington, George, contemporaries, table [iii]
• Washington, D. C., contemporaries, [112]
• Wasmann, Rudolf F., act and portrait, [271n.];
  • and grand style, [289]
• Watteau, Jean A., period, [108];
  • “singing” picture, [219], [232], [283];
  • colour, [246], [247], [253];
  • contemporaries, table [ii]
• Way, as Egyptian prime symbol, [174], [189], [201]
• Wazo of Liége, Bishop, as warrior, [349n.]
• Wedgwood ware, and Sèvres, [150n.]
• Weierstrass, Karl T. W., on poetry in mathematics, [62];
  • and time, [126]
• Weimar, culture city, [29], [139]
• Weininger, Otto, position in Western ethics, [374]
• Western Culture, clock and bell as symbols, [14], [15n.], [131], [134];
  • mathematic, function, [15], [62], [68], [74-78], [87-90];
  • irrational idea of historical culmination in, [16-20], [39];
  • provincialism, [22-25], [39];
  • Classical contemporary of present period, [26];
  • destiny, acceptance, [32], [37-41], [44], [336];
  • philosophy of decline, [45], [46];
  • World War as type of change, [46-48];
  • infinite space as prime symbol, art expression, [81], [86], [87], [89], [174-178], [184-187], [198-201], [224], [229-232], [239-242], [281-285], [337];
  • and popularity, [85], [243], [326-328], [362];
  • historic basis, destiny-idea, [97], [129], [130], [133-135], [143], [145], [363];
  • morphological aspect, [100];
  • dramatic form, [129];
  • expression of soul, portrait, [130], [260-266], [304];
  • and care and sex, [136];
  • attitude toward state, [137];
  • economic organization, [138];
  • religious expression, [140], [185-188], [312], [398-401];
  • Franco-Spanish period of maturity, [148], [150n.];
  • English basis of Civilization, [151], [371];
  • final test of foreseeing destiny, [159];
  • birth of soul, attributes, [167], [183];
  • literary expression, [185-188];
  • art-work and sense-organ, imagination, [220];
  • secularization of arts, [230];
  • form and content, [242];
  • position of sculpture, [244];
• colour symbol, [245-247], [250];
  • brushwork as symbol, [249];
  • unity, [252];
  • and motherhood, [266-268];
  • languages, [302n.];
  • as will-culture, [308-312];
  • and time of day, [324];
  • significance of astronomy, [330-332];
  • and discovery, [332-337];
  • aspects of ethics, [367-369];
  • culture and dogma, [410];
  • spiritual epochs, table [i];
  • art epochs, table [ii];
  • political epochs, table [iii].
  • See also [Art]; [Civilization]; [Cultures]; [History]; [Nature]; [Politics]; [Spirit]
• Weyden['Weyden], Rogier van der. See [Rogier]
• Wilhelm, Meister, painting, [263]
• Will, free will and destiny, [140], [141];
  • unexplainable, [299];
  • as Western concept, [302], [304], [308-313];
  • and reason, [308];
  • and Western concept of God, [312];
  • and character, [314];
  • and life, [315];
  • and Western morale, [341-345], [373]
• Willaert, Adrian, music, in Italy, [236], [252]
• Winckelmann, Johann J., narrow Classicalism, [28n.]
• Wind instruments, colour expression, [252n.]
• Window, cultural significance, [199], [210], [224]
• Woermann, Karl, on catacomb Madonna, [137n.]
• Wolfram von Eschenbach, world-outlook, [142];
  • forest-longing, [186], [397];
  • and Grail, [213n.];
  • and popularity, [243];
  • tragic method, [319], [324]
• Woodwind instruments, colour expression, [252n.]
• Word, relation to number, [57].
  • See also [Language]; [Names]
• Work, Protestant works, [316n.];
  • and deed, [355];
  • and Socialism, [362];
  • Western concept, [413]
• World, and soul and life, [54]
• World-Ash Yggdrasil, as symbol, [396]
• World conceptions, historical and natural, overlapping, [98-100], [102], [103], [119], [153], [154], [158];
  • (diagram), [154];
  • symbolic, [163-165];
  • happening and history, [153].
  • See also [History]; [Macrocosm]; [Nature]
• World-end, as symbol of Western soul, [363], [423]
• World-fear, creative expression, [79-81]
• World-longing, development, and world-fear, [78-81]
• World War, and Spengler’s theories, [ix], [xv];
  • as type of historical change of phase, [46-48], [110n.];
  • contemporaries, table [iii]
• Writing, alphabet and historical consciousness, [12n.];
  • as ornament, [194n.], [197n.]
  • See also [Language]
• Würzburg, Marienkirche and style, [200];
  • master-builders, [207]
• Wu-ti, contemporaries, table [iii]