  In such works, Hegel claims, the painter does not aim simply to show us what grapes, flowers or trees look like: we know that already from nature. The painter aims, rather, to capture the—often fleeting—“life” (Lebendigkeit) of things: “the lustre of metal, the shimmer of a bunch of grapes by candlelight, a vanishing glimpse of the moon or the sun, a smile, the expression of a swiftly passing emotion” (Aesthetics, 1: 599). Often, indeed, the painter seeks to delight us specifically with the animated play of the colors of gold, silver, velvet or fur. In such works, Hegel notes, we encounter not just the depiction of things, but “as it were, an objective music, a peal in colour [ein Tönen in Farben]” (Aesthetics, 1: 598–600).