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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • for yourselves, in the history of European Art the school of
    • were evolved more in the East of Europe and in Greece. While in
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • lost. European humanity, in a certain sense, no longer cares how a given
    • developments in Southern Europe.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • in Middle Europe up to the time when Dürer and Holbein entered
    • what is really important in the evolution of this European Art, we
    • mainsprings in Middle Europe. I mean that Central Europe which we
    • or imagination proceed from this region of Middle Europe. As
    • The Mid-European
    • Europe at that time, give us a feeling of something absolutely
    • monks — all of whom undoubtedly absorbed Mid-European
    • for Mid-European Art. In every case these miniatures reveal a
    • magnificently in the older Mid-European miniature painting. This,
    • Europe, and as it did so it lost itself in what was raying outward
    • from Middle Europe was fertilised in turn from the South. All that
    • — was wedded in mid-European Art with that impulse of movement which,
    • certain realism. It comes to Europe on the Norman waves of culture.
    • the artistic creation of Mid-Europe.
    • But this is only the one tendency. In Middle Europe there always
    • Europe they felt the Classical and in later times even the Gothic
    • especially, there is in Middle Europe the mood which afterwards
    • the Mid-European principle and completely overwhelmed it, we must
    • say that in the centuries before Dürer, the Mid-European
    • unnoticed, in Middle Europe, something that unites this country
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Mid-European and Southern Art
    • Mid-European and Southern Art
    • Mid-European, or Northern, and the Southern Art. I tried to show
    • Mid-European impulses, layer upon layer, as it were, so that it is
    • of the Mid-European spiritual life, there arose what we may call
    • soul in movement — that is the goal of the Mid-European
    • very early stage by the Mid-European) looks more to all that enters
    • the Mid-European, or Northern element, works its way upwards more
    • Middle Europe, uniting the more Roman or Latin elements with a
    • Middle Europe the systemmatising, formal tendency of Rome was
    • centuries to which I now refer, in Middle Europe, are all devoted
    • Carolingian period in Middle Europe, Mid-European paganism
    • arises out of the very soul of Middle Europe an inherently
    • Mid-European soul to assimilate into its deepest inner life all
    • there was really attained in Mid-Europe at that time an astonishing
    • between the Mid-European and Northern, and the Southern life, which
    • in Mid-Europe and the North the Fifth Post-Atlantean epoch was
    • Figure that works upon us. In Middle Europe it is, rather, the life
    • in Middle Europe. In Middle Europe man lives within himself; seeks
    • of the human soul in Europe. They reckoned with these things. They
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture V: Rembrandt
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    • mass of the European people, once more bearing witness to the truth that
    • for something elemental and original. Many people in Mid-Europe began
    • spiritual life had declined considerably in Europe in the last decades of
    • lectures as the Southern European stream. He is even less dependent than
    • Mid-European life — out of a source of life which he draws from the
    • and worked? It was when the Thirty-Years' War was ravaging Mid-Europe.
    • more southern nations of Middle Europe were being massacred in this
    • Mid-European humanity. He never even saw Italy. He had no relation to
    • on the history of Europe — notably in that time when the Fourth
    • Gall in the 10th century, and relating how Mid-Europe was overwhelmed
    • from Italy, telling of all the destinies that overcame Mid- Europe.
    • emerging of a new age. We find, developing in Mid-Europe, the Latin
    • And we see how the Mid-European freedom of the cities — the culture
    • At length we come to the Mid-European Reformation, expressing itself in
    • Counter-Reformation, spreading out over all Europe.
    • period, when the powers of mighty States were overwhelming Europe, sweeping
    • Counter-Reformation — with the will to break up the Mid-European
    • outer reality — not to be the sublimer truth like the South-European
    • well-spring of Mid-European spiritual life. For Rembrandt creates out
    • of the spirit which is characteristic of Mid-Europe. To create, to look
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • which emerges out of the Mid-European, Northern element. These things
    • something very different from the Mid-European who speaks of Patriotism.
    • Mid-Europe really has no talent for this belonging together, this
    • gathering of men together into a Group. In Mid-Europe there is a faculty
    • for the Individual principle. The true native character of Middle Europe
    • Northern Mid-European element, while composition, which gradually finds
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Southern European and the Northern or Mid-European artistic streams
    • the time in Middle Europe, — the German towns and cities. Invisibly
    • For in those centuries the plague was raging far and wide in Europe
    • studies on the evolution of the Mid-European or German Art — and
    • Middle Europe have to feel their own way towards a totality of composition.
    • Europe, is wonderfully confirmed, in all detail, in the sphere of Art.
    • the impulses working in the different regions of Europe — you



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