FINE ARTS.[ToC]
The artistic instinct is one of the earliest developed in man; the love of representation is evolved at the earliest period; we see it in the child, we see it in the savage, we find traces of it among primitive men. The child in his earliest years loves to trace the forms of objects familiar to his eyes. The savage takes a pleasure in depicting and rudely giving shape to objects which constantly meet his view. The artistic instinct is of all ages and of all climes; it springs up naturally in all countries, and takes its origin alike everywhere in the imitative faculty of man. Evidences of this instinct at the earliest period have been discovered among the relics of primitive men; rough sketches on slate and on stone of the mammoth, the deer, and of man, have been found in the caves of France; the American savage traces rude hunting scenes, or the forms of animals on the covering of his tents, and on his buffalo robes; the savage Australian covers the side of caverns, and the faces of rocks with coarse drawings of animals. We thus find an independent evolution of the art of design, and distinct and separate cycles of its development through the stages of rise, progress, maturity, decline and decay, in many countries the most remote and unconnected with one another. The earliest mode of representing men, animals and objects was in outline and in profile. It is evidently the most primitive style, and characteristic of the commencement of the art, as the first attempts made by children and uncivilized people are solely confined to it; the most inexperienced perceive the object intended to be represented, and no effort is required to comprehend it. Outline figures were thus in all countries the earliest style of painting, and we find this mode practiced at a remote period in Egypt and in Greece. In Egypt we meet paintings in this earliest stage of the art of design in the tombs of Beni Hassan, dating from over 2000 B.C. They are illustrative of the manners and customs of that age. Tradition tells us that the origin of the art of design in Greece was in tracing in outline and in profile the shadow of a human head on the wall and afterwards filling it in so as to present the appearance of a kind of silhouette. The Greek painted vases of the earliest epoch exhibit examples of this style. From this humble beginning the art of design in Greece rose in gradually successive stages, until it reached its highest degree of perfection under the hands of Zeuxis and Apelles.
The interest that attaches to Egyptian art is from its great antiquity. We see it in the first attempts to represent what in after times, and in some other countries, gradually arrived, under better auspices, at the greatest perfection; and we even trace in it the germ of much that was improved upon by those who had a higher appreciation of, and feeling for, the beautiful. For, both in ornamental art, as well as in architecture, Egypt exercised in early times considerable influence over other people less advanced than itself, or only just emerging from barbarism; and the various conventional devices, the lotus flowers, the sphinxes, and other fabulous animals, as well as the early Medusa's head, with a protruding tongue, of the oldest Greek pottery and sculptures, and the ibex, leopard, and above all the (Nile) "goose and sun," on the vases, show them to be connected with, and frequently directly borrowed from, Egyptian fancy. It was, as it still is, the custom of people to borrow from those who have attained to a greater degree of refinement and civilization than themselves; the nation most advanced in art led the taste, and though some had sufficient invention to alter what they adopted, and to render it their own, the original idea may still be traced whenever it has been derived from a foreign source. Egypt was long the dominant nation, and the intercourse established at a very remote period with other countries, through commerce of war, carried abroad the taste of this the most advanced people of the time; and so general seems to have been the fashion of their ornaments, that even the Nineveh marbles present the winged globe, and other well-known Egyptian emblems, as established elements of Assyrian decorative art.
ANCIENT ART AND LITERATURE.[ToList]
While Greece was still in its infancy, Egypt had long been the leading nation of the world; she was noted for her magnificence, her wealth, and power, and all acknowledged her pre-eminence in wisdom and civilization. It is not, therefore, surprising that the Greeks should have admitted into their early art some of the forms then most in vogue, and though the wonderful taste of that gifted people speedily raised them to a point of excellence never attained by the Egyptians or any others, the rise and first germs of art and architecture must be sought in the Valley of the Nile. In the oldest monuments of Greece, the sloping or pyramidal line constantly predominates; the columns in the oldest Greek order are almost purely Egyptian, in the proportions of the shaft, and in the form of its shallow flutes without fillets; and it is a remarkable fact that the oldest Egyptian columns are those which bear the closest resemblance to the Greek Doric.
Though great variety was permitted in objects of luxury, as furniture, vases, and other things depending on caprice, the Egyptians were forbidden to introduce any material innovations into the human figure, such as would alter its general character, and all subjects connected with religion retained to the last the same conventional type. A god in the latest temple was of the same form as when represented on monuments of the earliest date; and King Menes would have recognized Amun, or Osiris, in a Ptolemaic or a Roman sanctuary. In sacred subjects the law was inflexible, and religion, which has frequently done so much for the development and direction of taste in sculpture, had the effect of fettering the genius of Egyptian artists. No improvements, resulting from experience and observation, were admitted in the mode of drawing the human figure; to copy nature was not allowed; it was therefore useless to study it, and no attempt was made to give the proper action to the limbs. Certain rules, certain models, had been established by the priesthood, and the faulty conceptions of ignorant times were copied and perpetuated by every successive artist. For, as Plato and Synesius say, the Egyptian sculptors were not suffered to attempt anything contrary to the regulations laid down regarding the figures of the gods; they were forbidden to introduce any change, or to invent new subjects and habits, and thus the art, and the rules which bound it, always remained the same.
Egyptian bas-relief appears to have been, in its origin, a mere copy of painting, its predecessor. The first attempt to represent the figures of gods, sacred emblems, and other subjects, consisted in drawing or painting simple outlines of them on a flat surface, the details being afterwards put in with color; but in process of time these forms were traced on stone with a tool, and the intermediate space between the various figures being afterwards cut away, the once level surface assumed the appearance of a bas-relief. It was, in fact, a pictorial representation on stone, which is evidently the character of all the bas-reliefs on Egyptian monuments, and which readily accounts for the imperfect arrangement of their figures.