A History of Greek Art by F. B. Tarbell (free novel 24 .txt) 📕

for example, in some of the outlying buildings at Karnak. Then there was the column whose capital was adorned with four heads in relief of the goddess Hathor, not to speak of other varieties. Whatever the precise form of the support, it was always used to carry a horizontal beam. Although the Egyptians were familiar from very early times with the principle of the arch, and although examples of its use occur often enough under the New Empire, we do not find columns or piers used, as in Gothic architecture, to carry a vaulting. In fact, the genuine vault is absent from Egyptian temple architecture, although in the Temple of Abydos false or corbelled vaults (cf. page 49) do occur.

 

Egyptian architects were not gifted with a fine feeling for structural propriety or unity. A few of their small temples are simple and coherent in plan and fairly tasteful in details. But it is significant that a temple could always be enlarged by the addition of parts not contemplated in the original design. The result in such a case was a vast, rambling edifice, whose merits consisted in the imposing character of individual parts, rather than in an organic and symmetrical relation of parts to whole.

 

Statues of the New Empire are far more numerous than those of any other period, but few of them will compare in excellence with the best of those of the Old Empire. Colossal figures of kings abound, chiseled with infinite patience from granite and other obdurate rocks. All these and others may be passed over in order to make room for a statue in the Louvre (Fig. 11), which is chosen, not because of its artistic merits, but because of its material and its subject. It is of bronze, somewhat over three feet in height, thus being the largest Egyptian bronze statue known. It was cast in a single piece, except for the arms, which were cast separately and attached. The date of it is in dispute, one authority assigning it to the Eighteenth Dynasty and another bringing it down as late as the seventh century B.C. Be that as it may, the art of casting hollow bronze figures is of high antiquity in Egypt. The figure represents a hawk-headed god, Horus, who once held up some object, probably a vase for libations. Egyptian divinities are often represented with the heads of animals—

Anubis with the head of a jackal, Hathor with that of a cow, Sebek with that of a crocodile, and so on. This in itself shows a lack of nobility in the popular theology. Moreover it is clear that the best talents of sculptors were engaged upon portraits of kings and queens and other human beings, not upon figures of the gods. The latter exist by the thousand, to be sure, but they are generally small statuettes, a few inches high, in bronze, wood, or faience.

And even if sculptors had been encouraged to do their best in bodying forth the forms of gods, they would hardly have achieved high success. The exalted imagination was lacking.

 

Among the innumerable painted bas-reliefs covering the walls of tombs and temples, those of the great Temple of Abydos in Upper Egypt hold a high place. One enthusiastic art critic has gone so far as to pronounce them “the most perfect, the most noble bas-reliefs ever chiseled.” A specimen of this work, now, alas! more defaced than is here shown, is given in Fig. 12. King Seti I. of the Nineteenth Dynasty stands in an attitude of homage before a seated divinity, of whom almost nothing appears in the illustration. On the palm of his right hand he holds a figure of Maat, goddess of truth. In front of him is a libation-standard, on which rests a bunch of lotus flowers, buds, and leaves. The first remark to be made about this work is that it is genuine relief.

The forms are everywhere modeled, whereas in much of what is commonly called bas-relief in Egypt, the figures are only outlined and the spaces within the outlines are left flat. As regards the treatment of the human figure, we have here the stereotyped Egyptian conventions. The head, except the eye, is in profile, the shoulders in front view, the abdomen in three-quarters view, the legs again in profile. As a result of the distortion of the body, the arms are badly attached at the shoulders. Furthermore the hands, besides being very badly drawn, have in this instance the appearance of being mismated with the arms, while both feet look like right feet. The dress consists of the usual loin-cloth and of a thin, transparent over-garment, indicated only by a line in front and below. Now surely no one will maintain that these methods and others of like sort which there is no opportunity here to illustrate are the most artistic ever devised. Nevertheless serious technical faults and shortcomings may coexist with great merits of composition and expression. So it is in this relief of Seti. The design is stamped with unusual refinement and grace. The theme is hackneyed enough, but its treatment here raises it above the level of commonplace.

 

Egyptian bas-reliefs were always completely covered with paint, laid on in uniform tints. Paintings on a flat surface differ in no essential respect from these painted bas-reliefs. The conventional and untruthful methods of representing the human form, as well as other objects—buildings, landscapes, etc.—are the same in the former as in the latter. The coloring, too, is of the same sort, there being no attempt to render gradations of color due to the play of light and shade. Fig. 13, a lute-player from a royal tomb of the Eighteenth Dynasty, illustrates some of these points. The reader who would form an idea of the composition of extensive scenes must consult works more especially devoted to Egyptian art.

He will be rewarded with many a vivid picture of ancient Egyptian life.

 

Art was at a low ebb in Egypt during the centuries of Libyan and Ethiopian domination which succeeded the New Empire. There was a revival under the Saite monarchy in the seventh and sixth centuries B.C. To this period is assigned a superb head of dark green stone (Fig. 14), recently acquired by the Berlin Museum. It has been broken from a standing or kneeling statue. The form of the closely-shaven skull and the features of the strong face, wrinkled by age, have been reproduced by the sculptor with unsurpassable fidelity. The number of works emanating from the same school as this is very small, but in quality they represent the highest development of Egyptian sculpture. It is fit that we should take our leave of Egyptian art with such a work as this before us, a work which gives us the quintessence of the artistic genius of the race.

 

Babylonia was the seat of a civilization perhaps more hoary than that of Egypt. The known remains of Babylonian art, however, are at present far fewer than those of Egypt and will probably always be so. There being practically no stone in the country and wood being very scarce, buildings were constructed entirely of bricks, some of them merely sun-dried, others kiln-baked. The natural wells of bitumen supplied a tenacious mortar. [Footnote: Compare Genesis XI 3: “And they had brick for stone and slime had they for mortar.”] The ruins that have been explored at Tello, Nippur, and elsewhere, belong to city walls, houses, and temples. The most peculiar and conspicuous feature of the temple was a lofty rectangular tower of several stages, each stage smaller than the one below it. The arch was known and used in Babylonia from time immemorial. As for the ornamental details of buildings, we know very little about them except that large use was made of enameled bricks.

 

The only early Babylonian sculptures of any consequence that we possess are a collection of broken reliefs and a dozen sculptures in the round, found in a group of mounds called Tello and now in the Louvre. The reliefs are extremely rude. The statues are much better and are therefore probably of later date, they are commonly assigned by students of Babylonian antiquities to about 3000 B.C.

Fig. 15 reproduces one of them. The material, as of the other statues found at the same place, is a dark and excessively hard igneous rock (dolerite). The person represented is one Gudea, the ruler of a small semi-independent principality. On his lap he has a tablet on which is engraved the plan of a fortress, very interesting to the student of military antiquities. The forms of the body are surprisingly well given, even the knuckles of the fingers being indicated. As regards the drapery, it is noteworthy that an attempt has been made to render folds on the right breast and the left arm. The skirt of the dress is covered with an inscription in cuneiform characters.

 

Fig. 16 belongs to the same group of sculptures as the seated figure just discussed. Although this head gives no such impression of lifelikeness as the best Egyptian portraits, it yet shows careful study. Cheeks, chin, and mouth are well rendered. The eyelids, though too wide open, are still good; notice the inner corners. The eyebrows are less successful. Their general form is that of the half of a figure 8 bisected vertically, and the hairs are indicated by slanting lines arranged in herring-bone fashion.

Altogether, the reader will probably feel more respect than enthusiasm for this early Babylonian art and will have no keen regret that the specimens of it are so few.

 

The Assyrians were by origin one people with the Chaldeans and were therefore a branch of the great Semitic family. It is not until the ninth century B.C. that the great period of Assyrian history begins. Then for two and a half centuries Assyria was the great conquering power of the world. Near the end of the seventh century it was completely annihilated by a coalition of Babylonia and Media.

 

With an insignificant exception or two the remains of Assyrian buildings and sculptures all belong to the period of Assyrian greatness. The principal sites where explorations have been carried on are Koyunjik (Nineveh), Nimroud, and Khorsabad, and the ruins uncovered are chiefly those of royal palaces. These buildings were of enormous extent. The palace of Sennacherib at Nineveh, for example, covered more than twenty acres. Although the country possessed building stone in plenty, stone was not used except for superficial ornamentation, baked and unbaked bricks being the architect’s sole reliance. This was a mere blind following of the example of Babylonia, from which Assyria derived all its culture. The palaces were probably only one story in height. Their principal splendor was in their interior decoration of painted stucco, enameled bricks, and, above all, painted reliefs in limestone or alabaster.

 

The great Assyrian bas-reliefs covered the lower portions of the walls of important rooms. Designed to enrich the royal palaces, they drew their principal themes from the occupations of the kings. We see the monarch offering sacrifice before a divinity, or, more often, engaged in his favorite pursuits of war and hunting. These extensive compositions cannot be adequately illustrated by two or three small pictures. The most that can be done is to show the sculptor’s method of treating single figures.

Fig. 17 is a slab from the earliest series we possess, that belonging to the palace of Asshur-nazir-pal (884-860 B.C.) at Nimroud. It represents the king facing to right, with a bowl for libation in his right hand and his bow in his left, while a eunuch stands fronting him. The artistic style exhibited here remains with no essential change throughout the whole history of Assyrian art. The figures are in profile, except that the king’s further shoulder is thrown forward in much the fashion which we have found the rule in