LITMIR.BIZ

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and fullest sense.

      From the simplest linear pattern, or bone scratchings of primitive man, to the most splendid achievements in mural decoration of the Italian Renascence—or, shall we say, from the grass mat of the first plaiter to the finest Persian carpet: or from Stonehenge to Salisbury Cathedral—the range is enormous, and were we to attempt to trace, step by step, the true relation between the diverse and multitudinous characteristics which such contrasts suggest, we should be tracing the course of the development of human thought and history themselves.

      When we stand amazed in this labyrinth—this enchanted and beautiful wood of human invention which the history of art displays, we might be content to gaze at the loveliness of particular forms there, and simply enjoy, like children, the beauty of the trees and flowers; gathering here and there at random, and casting them aside again when we were tired, without a thought as to their true significance.

      If, however, we desire to find some clue to the labyrinth—something which will explain it in part, at least, something which will give us a key to the relation of these manifold forms, and enable us to place them in harmonious order and coherence, we shall presently ask:

      (1) How and whence they derived their leading characteristics?

      (2) Upon what basis have they been built up? and

      (3) What have been the chief influences which have determined, and still determine, their varieties?

      Let us try to address ourselves to these questions, since, I believe, even if we only end as we begin, by inquiry, that, in the course of that inquiry, by study, by comparison, and careful observation, we shall be able greatly to clear our path, and find much to help us as individual students and practical workers in art.

      (1) The first arts are, of course, those of pure utility, which spring from the primal physical necessities of man: which are concerned in the maintenance of life itself—the art or craft of the hunter and the fisherman, the tiller of the soil, the hewer of wood and the drawer of water: but seeing that next to securing sufficiency of food, the efforts of man are directed towards providing himself with shelter, both of roof and raiment, and since most of the arts of the creative sort must be practised under shelter of some kind, and that all of them contribute in some way towards the building or adornment of such shelter, I think we shall find the true basis and controlling influences, which have been paramount in the development of decorative design, in the form and character of the dwellings of man and their accessories; from the temples he has raised to enshrine his highest ideals—these temples themselves being but larger and more monumental dwellings—to the tomb, his last dwelling-place. We shall find, in short, the original and controlling bases of design in architecture, the queen and mother of all the arts.

      In asserting this one does not lose sight of the view that all art is, primarily, the projection or precipitation in material form of man's emotional and intellectual nature; but, being projected and taking definite shape, it becomes subject to certain controlling forces of nature, of material, of condition, which re-act upon the mind; and it is with these controlling forces and conditions, and the distinctions which arise out of them, that we are now concerned.

      Such distinctions as exist, for instance, in the feeling, the plan and construction of those patterns intended to be laid upon the floors (as in carpets or tiles), and such as are intended to cover ceilings and walls (as in plaster-work, textile hangings or wall papers), obviously arise from the relative positions of floor, walls, and ceilings, and the differences between horizontal and vertical positions; and these conditions are necessarily part and parcel of the constructional conditions of the dwelling itself.

      The first shelter may be said to have been the shelter of nature without art—the Tree and the Cave, the first homes of man; although he was probably not by any means the first animal to hide among the woods and the rocks, since he had many and formidable foes to dispute with or disturb him in possession. It is noticeable that such art as is associated with this strange and remote chapter of man's existence on the earth—the art-instinct which impelled the primitive hunter to incise the bone and stone implements he used with the images of the animals he hunted—is purely graphic, and does not show any feeling of that adaptive ornamental quality characteristic of what we call decorative design, which would seem to belong to a more highly organized condition of society. "Among the primitive Greeks," remarks Messrs. Guhl and Köner in their Life of the Greeks and Romans, "fountains and trees, caves and mountains, were considered as seats of the gods, and revered accordingly, even without being changed into divine habitations by the art of man." But, as proving literally that art springs out of nature, the cave itself led to a development of architecture, as in some early Greek tombs where the cave, or cleft in the rocks, is utilized and added to by masonry; or where the rock itself was carved and hollowed, as in the rock-cut temples of Egypt and India. To which some trace the origin of columnar architecture.

      The Tent of the Asiatic wandering tribes, and the wattled and wooden Hut of the western and northern, come next in the order of human dwellings, and not only may we trace certain types of pattern design to both sources, but it would seem as if both the tent and the hut, and perhaps the wagon of the Aryans, had had their influence upon the more substantial stone structures which succeeded them. When tribes became communities, townships were founded, and more fixed and settled habits of life prevailed.

      DIAGRAM TO SHOW THE THREE TYPICAL FORMS OF ARCHITECTURE:

      I

       LINTEL. II

       ROUND ARCH. III

       POINTED ARCH.

      Now we may broadly group the principal types of architectural form and construction in three principal divisions, following Professor Ruskin, namely:

      1. The architecture of the Lintel (or column and pediment).

      2. The architecture of the Round Arch (or vault and dome).

      3. The architecture of the Pointed Arch1 (or vault, gable, and buttress).

      Of the first we may find the simplest type in Stonehenge; we may find it in equally massive, and almost as primitive form at Mycenæ, in the famous Gate of the Lions, remarkable as being the earliest known example of Greek sculpture: we may find it more developed in the Greek temples of ancient Egypt, at Karnac, Thebes and Philæ, and we may see it in its purest form in the Parthenon at Athens.

      GATE OF MYCENÆ.

      The derivation and development of the Greek Doric temple from its prototype of wooden construction has frequently been demonstrated, and the tombs in Lycia furnish striking illustrations of this close imitation and perpetuation in stone of a system and details belonging to wood; and it is instructive to compare its features with corresponding parts in the Parthenon, and to observe how closely they agree. It is a curious instance of that love for and clinging to ancient and traditional forms, that with the art and all the resources of Athenian civilization, the form and construction of its temples remained much the same, and may be considered as only glorified enlargements in marble of their wooden predecessors, retaining all the characteristic details of those primitive structures.

      IMITATION OF WOODEN CONSTRUCTION IN STONE TOMB IN LYKIA,

       [From GUHL & KONER].

      By these means, however, qualities of grandeur, joined with extreme simplicity, subtle proportions, and sparing, severe, but delicately chiselled ornament were gained; which, when heightened with colour in the broad and strong sunshine of Greece, seemed all sufficient, especially so when they formed the framework, or setting, of the most beautiful and noble sculpture the world has ever seen, as in the Parthenon.

      To this sculpture, indeed, all the lines and proportions of the building seem to lead the eye, while it remains, whether in pediment, metope, or frieze, an essential part of the architectural

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