[76] See Isaac Taylor’s “History of the Alphabet.”
[77] Renouf’s Hibbert Lectures, 1879, p. 67.
[78] Now there is a point of view in which we may regard the imitative art of all races, the most civilized as well as the most barbarous—in reference to the power of correctly representing animal and vegetable forms, such as they exist in nature. The perfection of such imitation depends not so much on the manual dexterity of the artist as on his intelligence and comprehension of the type of the essential qualities of the form he desires to represent. See Ch. T. Newton’s “Essays on Art and Archæology,” p. 17.
[79] See Wilkinson’s “Ancient Egyptians.”
[80] Plato’s Second Book of Laws, p. 656.
[81] “The religion of the Greeks penetrated into their institutions and daily life. The myth was not only embodied in the sculptures of Pheidias on the Parthenon, and portrayed in the paintings of Polygnotus in the Stoa Poikile; it was repeated in a more compendious and abbreviated form on the fictile vase of the Athenian household, on the coin circulated in the market-place, on the mirror in which the Aspasia of the day beheld her charms. Every domestic implement was made the vehicle of figurative language, or fashioned into a symbol.”—Newton’s “Essays on Art and Archæology,” p. 23.
[82] “Art in Ornament and Dress,” by M. Charles Blanc, formerly Director of the French Institute. Eng. Trans., Chapman and Hall, London.
[83] See Charles Blanc’s “Art in Ornament and Dress,” p. 31.
[84] Charles Blanc’s “Art in Ornament and Dress,” p. 43.
[85] Charles Blanc’s “Art in Ornament and Dress,” pp. 43, 45, 46.