ANCIENT OR CLASSIC. 1400 B.C.—300 A.D.
Egyptian.—Characteristics: symbolic, severe,
simple, grand, massive. Conventional forms of lotus,
papyrus, etc. Oblique lines.
Greek.—Characteristics: æsthetic, simple,
harmonious, beautiful. Conventional forms, anthemion,
acanthus. Ellipse.
Roman.—Characteristics: elaborate, rich, costly.
Conventional forms, acanthus scroll, monsters. Circle.
MEDIEVAL. 300 A.D.—1300 A.D.
Byzantine.—Symbolic, rich, elaborate. Conventional
forms, principal architectural feature—dome.
Saracenic.—Gorgeous coloring, graceful curves.
Forms entirely geometric. Arabesque, geometrical
tracery, interlacing.
Gothic.—Imposing, grand. Pointed arches, clustered
columns, vaulted roof, spire buttress. Forms both natural
and conventional. Stained glass.
MODERN OR RENAISSANCE. 1300 A.D.—1900 A.D.
Renaissance.—Mixture of classic and mediæval
elements. Result not generally good.
Cinquecento.—Æsthetic, revival of true classic
principles. Beautiful curves, fine proportions
and distribution. Conventional animal and plant
forms. Human figure.
Louis Quatorze.—Sparkling, glittering. Absence
of color, want of symmetry.
I. ANCIENT OR CLASSIC ART.
Ancient art is also known as classic, a term which, in architecture, sculpture, painting, and music, is almost synonymous with good and admirable. Taken as a whole and at its best, classic art has never been surpassed. The designs of the Greeks, Romans, and Egyptians, and even the forms of their buildings, are still copied at the present day.
The horizontal line is a marked feature of classic art. It is visible in the leading lines of their architecture, in the frequency of horizontal borders, friezes, etc. It accords admirably with the constructive features of classic architecture, and thus conforms to the important decorative principle that ornament should emphasize rather than disguise construction.
1. Egyptian Art.—The oldest of which we have any record dates from 1800 B.C. Egyptian art is symbolic, that is to say, the forms were chosen not so much on account of their beauty as for the purpose of conveying some meaning. The government of Egypt being almost entirely in the hands of the priests, these symbols were generally of a religious character, signifying power and protection. The principal ones were: The lotus, signifying plenty, abundance; the zigzag, symbolic of the river Nile; the winged globe or scarabæus, signifying protection and dominion, usually placed over doors of houses; the fret, type of the Great Labyrinth, with its three thousand chambers, which was, in its turn, symbolic of the life of a human soul.
The column originated with the Egyptians. It was at first heavy, broad compared to its length, and was usually covered with hieroglyphics. The architecture of Egypt, of which the principal forms are pyramids, sphinxes, obelisks, and temples, is characterized by massiveness of material, grandeur of proportion, and simplicity of parts—a style well suited to its flat, sandy soil, though it would look heavy and out of place in a country where nature had herself supplied the elements of grandeur and massiveness in the form of lofty mountains or mighty forests. Egyptian art greatly influenced all the succeeding styles, and to this time is unsurpassed in many of its qualities.
2. Greek Art.—The next great historic style is the Greek. Its spirit differed entirely from the Egyptian, being æsthetic and not symbolic. Its sole aim was to create beautiful forms, without any thought of attaching to them a meaning. It adopted many Egyptian forms, such as the lotus, fret, and scroll, but divested them of all symbolism or significance. The most characteristic feature of Greek ornament is the anthemion, a conventionalized flower form resembling our honeysuckle bud, which was usually alternated with the lotus or lily form bud. The Greeks also borrowed the column and flat arch from the Egyptians, but changed it to a more slender, graceful form. The three principal orders of Greek architecture are named from the style of the column used that characterized them, viz., the Corinthian, the Doric, the Ionic. Of these the Doric is the simplest and the Corinthian the most elaborate.
For harmony of proportions, elegance of form, and simplicity of detail, Greek architecture and ornament has probably never been surpassed. These qualities are admirably displayed in the Parthenon, a temple in Athens, dedicated to Venus. Though in ruins, it is still one of the greatest attractions to travelers in Greece. A very fine collection of fragments taken from it is to be seen in the British Museum. They are known as the Elgin marbles.
The most flourishing period of Greek art, as will be found in the history of almost all nations, was identical with the most flourishing period of its literature and general welfare.
3. Roman Art.—In the 6th century B.C. the Greeks, already on the decline, were conquered by the Romans, a nation hardier and more powerful, though ruder and less civilized than themselves. The conquerors recognized this, and immediately set to work to copy or steal from their vanquished foes everything that might enhance the beauty and splendor of their own city. Greek artists were transported to Rome and placed in charge of the most important public works. Roman art is, consequently, but a development or adaptation of the Greek. It is noticeable, however, that it almost completely ignored the most characteristic and popular of the Greek forms—for example, the anthemion—and adapted those, such as the acanthus and the scroll, which had been considered of minor importance among the Greeks. They added another to the three orders of the Greek architecture, viz., the Composite, the most elaborate of all, being a combination of the Ionic and the Corinthian. This leads us to consider the leading features of Roman ornament—richness and profusion. With the acanthus and scroll as their principal units of design, they elaborated and enriched every form that would admit of it. The most elaborate Greek example cannot compare in this respect to the simplest Roman. The Roman style of architecture was very similar to the Greek, though more massive in its proportions, probably on account of the larger number of people to be accommodated. The details were also bolder and the curves fuller. They used the round arch to a great extent. The column of Trajan and the Forum are fine examples of their architecture.