Vitruvius, however, gives no explanation of this ancient principle of proportion, as derived from the human form; but plainly shews his uncertainty upon the subject, by concluding this part of his essay in the following words: “If it be true, therefore, that the decenary notation was suggested by the members of man, and that the laws of proportion arose from the relative measures existing between certain parts of each member and the whole body, it will follow, that those are entitled to our commendation who, in building temples to their deities, proportioned the edifices, so that the several parts of them might be commensurate with the whole.” It thus appears certain that the Grecians, at the period of their highest excellence, had arrived at a knowledge of some definite mathematical law of proportion, which formed a standard of perfectly symmetrical beauty, not only in the representation of the human figure in sculpture and painting, but in architectural design, and indeed in all works where beauty of form and harmony of proportion constituted excellence. That this law was not deduced from the proportions of the human figure, as supposed by Vitruvius, but had its origin in mathematical science, seems equally certain; for in no other way can we satisfactorily account for the proportions of the beau ideal forms of the ancient Greek deities, or of those of their architectural structures, such as the Parthenon, the temple of Theseus, &c., or for the beauty that pervades all the other formative art of the period.
This system of geometrical harmony, founded, as I have shewn it to be, upon numerical relations, must consequently have formed part of the Greek philosophy of the period, by means of which the arts began to progress towards that great excellence which they soon after attained. A little further investigation will shew, that immediately after this period a theory connected with art was acknowledged and taught, and also that there existed a Science of Proportion.
Pamphilus, the celebrated painter, who flourished about four hundred years before the Christian era, from whom Apelles received the rudiments of his art, and whose school was distinguished for scientific cultivation, artistic knowledge, and the greatest accuracy in drawing, would admit no pupil unacquainted with geometry.[30] The terms upon which he engaged with his students were, that each should pay him one talent (£225 sterling) previous to receiving his instructions; for this he engaged “to give them, for ten years, lessons founded on an excellent theory.”[31]
It was by the advice of Pamphilus that the magistrates of Sicyon ordained that the study of drawing should constitute part of the education of the citizens—“a law,” says the Abbé Barthélémie, “which rescued the fine arts from servile hands.”
It is stated of Parrhasius, the rival of Zeuxis, who flourished about the same period as Pamphilus, that he accelerated the progress of art by purity and correctness of design; “for he was acquainted with the science of Proportions. Those he gave his gods and heroes were so happy, that artists did not hesitate to adopt them.” Parrhasius, it is also stated, was so admired by his contemporaries, that they decreed him the name of Legislator.[32] The whole history of the arts in Egypt and Greece concurs to prove that they were based on geometric precision, and were perfected by a continued application of the same science; while in all other countries we find them originating in rude and misshapen imitations of nature.
In the earliest stages of Greek art, the gods—then the only statues—were represented in a tranquil and fixed posture, with the features exhibiting a stiff inflexible earnestness, their only claim to excellence being symmetrical proportion; and this attention to geometric precision continued as art advanced towards its culminating point, and was thereafter still exhibited in the neatly and regularly folded drapery, and in the curiously braided and symmetrically arranged hair.[33]
These researches, imperfect as they are, cannot fail to exhibit the great contrast that exists between the system of elementary education in art practised in ancient Greece, and that adopted in this country at the present period. But it would be of very little service to point out this contrast, were it not accompanied by some attempt to develop the principles which seem to have formed the basis of this excellence amongst the Greeks.
But in making such an attempt, I cannot accuse myself of assuming anything incompatible with the free exercise of that spontaneity of genius which the learned essayist says is the parent and nurse of idealism. For it is in no way more incompatible with the free exercise of artistic genius, that those who are so gifted should have the advantage of an elementary education in the science of æsthetics, than it is incompatible with the free exercise of literary or poetic genius, that those who possess it should have the advantage of such an elementary education in the science of philology as our literary schools and colleges so amply afford.