Evolution in Art: As Illustrated by the Life-histories of Designs

by Alfred C. Haddon

[73] G. Perrot and C. Chipiez, A History of Art in Chaldæa and Assyria, 1884, i. p. 303.

[74] A. H. Layard, Discoveries in the Ruins of Nineveh and Babylon, i. p. 184, note.

[75] Nineveh and its Remains, ii. p. 212, note.

[76] Perrot and Chipiez, Assyria, i. p. 194.

[77] Newspaper Report of a Lecture delivered at the Royal Institution in May 1894.

[78] Grammar of the Lotus.

[79] W. M. Flinders Petrie, A History of Egypt, i., 1894, p. 251.

[80] Perrot and Chipiez, Egypt, i. p. 19.

[81] G. C. M. Birdwood, The Industrial Arts of India, 1880.

[82] I have a note to the following effect, the origin of which I cannot now trace:—Art under the Mahommedans in the first centuries appears to have been much encouraged, as many drawings and pictures are shown, thus upsetting the general belief that the Koran forbade the representation of human and animal figures. The picture of a rider belonging to the period of Arab civilisation is remarkably spirited, the folds of the rider’s garments, as well as the figure itself, being admirably portrayed.