[586] Op. cit., XXXV, 67.
[587] VIII. I. 47.
[588] The Egyptians divided the front view of the body into 19 parts (or 21 parts and a quarter, including the height of the head-dress): Diod., 1, 98. See Lepsius, Monum. funéraires de l’Égypte (figure, reproduced in Dar.-Sagl, I, 2, p. 892, fig. 1125); cf. his Descript. de l’Égypte, IV, LXII; Wilkinson, History of Egypt, p. 113, Pl. IV; these references are given by Foat, op. cit., p. 225, n. 1.
[589] Vitruv., I, 2. However, in thus following the statement of the Roman architect, it must be said that the attempt to recover and establish such a canon in Greek architecture is still unproved. The subject is complicated and has led to very different views. Thus, while many scholars have defended the theory of the canon (e. g., Pennethorne, Geom. and Optics of Anc. Arch., 1878; Penrose, in Whibley, Comp. to Gk. Stud.1, 1905, pp. 220–1; Ferguson, Hist. Arch., ed. 1887, I, p. 251; P. Gardner, Princ. Gk. Art., p. 21; Statham, Short Crit. Hist. Arch., 1912, p. 130), others are opposed, and believe that design in Greek architecture was a matter of feeling, and that the orders were first reduced to formulæ in Roman days (e. g., A. K. Porter, Med. Arch., 1909, I, 9; Goodyear, Greek Refinements, Studies in Temperamental Arch., 1912, esp. p. 83, quoting Joseph Hoffer from Wiener Bauzeitung, 1838). See on the subject a recent article by my pupil, Dr. A. W. Barker, in A. J. A., XXII, 1918, pp. 1 f., in which the above and other references are given.
[590] Gardner, Sculpt., pp. 22–3, says: “Paradoxical as it may seem at first sight, the very freedom of Greek sculpture is to a great extent due to its close adherence to tradition.” He shows how the free play of imagination depends on external conditions and tradition.
[591] E. g., Vitruv., I, 2; especially these words: Ut in hominis corpore e cubito, pede, palmo, digito, ceterisque particulis (partibus) symmetria est eurythmiae qualitas; also III, 1: Pes vero altitudinis corporis sextae <partis>; cubitum quartae; pectus item quartae, etc. Also Philostr., Imag., Proem.; the third-century A. D. (?) treatise called de Physiognomia; St. Augustine, de Civ. Dei, XV, 26. 1; the poet Martianus Capella, of the middle of the fifth century A. D., who says, VII, 739: septem corporis partes hominem perficiunt; etc.
[592] Die Proportionen des Gesichts in der griechischen Kunst (= 53stes Berliner Wincklemanns programm, 1893).
[593] Gestalt des Menschen, in Verh. d. Berl. Anthrop. Gesell., 1895. This work is based on the older investigations of C. Schmidt, Proportionsschluessel, 1849, and of C. Carus, Die Proportionslehre der menschlichen Gestalt, 1874. See also P. Richer, Canon des proportions du corps humain, 1893; E. Duhousset, Proportions artistiques et anthropométrie scientifique, Gaz. B-A., III, Pér. 3, 1 90, pp. 59 f.; E. Guillaume, art. Canon, Dict. de l’Acad. des B-A.; E. Gebhard, in Dar.-Sagl., I, 2, pp. 891–892; cf. Collignon, I, pp. 490 f.
[594] F. W. G. Foat, op. cit., offers a scheme or typical design, based on wide data, which will serve as a universal basis for securing facts about any statue under examination.
[595] On the influence of such canons of proportion on contemporary artists, see Balcarres, Evolution of Italian Sculpture, p. 128.