Synopsis
MANUAL OF THE HISTORICAL DEVELOPMENT OF ART CHAPTER I. PROLEGOMENA. Gazing at the heavens on a starry night, we see, in addition to myriads of sparkling worlds floating in the air, a great quantity of nebulae—either decayed systems of worlds, or worlds in formation. Worlds which have lost their centre of gravity and fallen to pieces; or worlds which are seeking, according to the general law of gravitation, to form a central body by the attraction of cosmical ether. The one phenomenon is that of destruction, the other that of new formation. This double process is continually repeating itself in the development of art. Consciously or unconsciously, the artists of the different nations, at different periods, devote themselves to the dissolution or B reconstruction of artistic products. To become acquainted with this process, to trace the elements from which art is built up, or the influences which engender a dissolution of artistic forms, is of the greatest importance. Art must be looked upon as the phenomenal result of certain religious, social, intellectual, and jTatural_conditions. To trace these conditions, their origin, influence, and gradual development, by means of a critical and historical investigation into the causes which produced them, will be our task. For art is like a whatever looks into it is reflected by it. If a poor, untrained imagination stares into it, no one must be astonished that poor and distorted images result. It is usually accepted as a truism that the essence of art is the reproduction of nature. Wherever, then, nature were reflected in the 'Art-mirror,' we should have the best work of art. But this is not so. For art has to reflect the phenomena br~th>-^makrokosm as a subjectively-conceived mikrokosm. We do not see matters as they really are, as each thing is surrounded by a thick fog of incidental, objective, and subjective peculiarities. This fog must be cleared away, to show us nature in the bright colours of intellectual and self-conscious idealisation. Nature furnishes us with mortar and stones for the building, but the architect's intellectual power has to arrange these elements, and to bring them into an artistic shape. Nature furnishes us with flowers, trees, animals and men; but the ornamental designer or painter has to reproduce and to group them so as to impress the forms of nature with an intellectual vitality. Before the artist proceeds to his work he must become thoroughly conscious of the distinction between the SUBLIME and the BEAUTIFUL. It is essential that he should draw a strict line of demarcation between the two conceptions; in order not to waste his energies on the reproduction of objects which are beyond the powers of art. During the long period of the cosmical formation of the earth, when mountains were towered upon mountains, rocks upheaved, islands submerged; when air, water, fire, and solid matter seemed engaged in never-ending conflict — nature was sublime. The dynamic force appeared to be the only element, and the counterbalancing static force was without influence. Gradually vegetable and animal life, in their first crude forms, commenced to show themselves. Zoophites were developed into megatheriums and mastodons. Mammoths and elks sported on plains which now form the mountain tops of our continents. Scarcely visible coral animals were still engaged in constructing mountain chains, and a luxuriant vegetation covered the small continents. Such transformations, convulsions, and changes are gigantic, grand, awe-inspiring—sublime, but not beautiful. Whenever nature is at work, disturbing the air with electric currents r shaking huge mountains, so that they bow their lofty summits, or when the dry soil is rent asunder, and sends forth streams of glowing lava, we are in
"About this title" may belong to another edition of this title.
