The size of the works need excite no surprise, when we remember how much earthenware was used in daily life by the Romans—for their floors, and drinking-cups, and oil and wine flasks, and unguent vessels, and cinerary urns, and boxes for money. The beauty, however, of the forms, even if it does not approach that of the Upchurch and Castor pottery, should be noticed. The flowing lines, the scroll-work patterns, the narrow necks of the wine-flasks and unguent vessels, all show how well the true artist understands that it is the real perfection of Art to make beauty ever the handmaid of use.
Patterns from Fragments.
Patterns from Fragments.
Another thing, too, is worthy of notice, that the artist was evidently unfettered by any given pattern or rule. Whatever device or form was at the moment uppermost in his mind, that he carried out, his hand following the bent of his fancy. Hence the endless variety of patterns and forms. No two vessels are exactly alike. In modern manufactures, however, the smooth uniformity of ugliness most admirably keeps down any symptoms of the prodigal luxuriance of beauty.[258]
We must, however, carefully beware of founding any theory, from the existence of these potteries, that the Forest must therefore have been cultivated in the days of the Conqueror. The reason why the Romans chose the Forest is obvious,—not from its fertility, but because it supplied the wood to fire the kilns; the same cause which, centuries after, made Yarranton select Ringwood for his smelting-furnaces. We must, too, bear in mind that after the Romans abandoned the island the natives soon went back to their primitive state of semi-barbarism; and further, that the interval between the Roman occupation and the Norman Conquest was nearly as great as that between ourselves and the Conqueror—a period long enough for the Kelts, and West-Saxons, and Danes to have swept away in their feuds all traces of civilization.
But what we should see in them is that beauty of form, which in simple outline has seldom been excelled, proclaiming a people who should in their descendants be the future masters of Art, as then they were of warfare.
The history of a nation may be more plainly read by its manufactures than by its laws or constitution. Its true æsthetic life, too, should be determined not so much by its list of poets or painters, as by the beauty of the articles in daily use.
And so still at Alderholt, not many miles off, the same beds of clay are worked, and jars, and flasks, and dishes made, but with a difference which may, perhaps, enable us to understand our inferiority in Art to the former rulers of our island.