A
HISTORY OF ART
FOR
BEGINNERS AND STUDENTS

PAINTING—SCULPTURE—ARCHITECTURE

WITH

COMPLETE INDEXES AND NUMEROUS ILLUSTRATIONS

BY

CLARA ERSKINE CLEMENT

AUTHOR OF "HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART," "PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS," "ARTISTS OF THE NINETEENTH CENTURY," ETC.

NEW YORK
FREDERICK A. STOKES COMPANY
MDCCCXCI

Copyright, 1887,
By FREDERICK A. STOKES,

Successor To White, Stokes, & Allen.

CONTENTS.

LIST OF ILLUSTRATIONS.

ARCHITECTURE.

CHAPTER I. ANCIENT OR HEATHEN ARCHITECTURE.
3000 B.C. TO A.D. 328.

ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last.

We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328.

The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past.

EGYPT.

As we consider the Architecture of Egypt, the Great Pyramid first attracts attention on account of its antiquity and its importance. This was built by Cheops, who is also called Suphis, about 3000 years before Christ. At that distant day the Egyptians seem to have been a nation of pyramid-builders, for even now, after all the years that have rolled between them and us, we know of more than sixty of these mysterious monuments which have been opened and explored.

Of all these the three pyramids at Ghizeh (Fig. 1) are best known, and that of Cheops is the most remarkable among them. Those of you who have studied the history of the wars of Napoleon I. will remember that it was near this spot that he fought the so-called Battle of the Pyramids, and that in addressing his soldiers he reminded them that here the ages looked down upon them, thus referring to the many years during which this great pyramid had stood on the border of the desert, as if watching the flight of Time and calmly waiting to see what would happen on the final day of all earthly things.

There have been much speculation and many opinions as to the use for which these pyramids were made, but the most general belief is that they were intended for the tombs of the powerful kings who reigned in Egypt and caused them to be built.

The pyramid of Cheops was four hundred and eighty feet and nine inches high, and its base was seven hundred and sixty-four feet square. It is so difficult to understand the size of anything from mere figures, that I shall try to make it plainer by saying that it covers more than thirteen acres of land, which is more than twice as much as is covered by any building in the world. Its height is as great as that of any cathedral spire in Europe, and more than twice that of the monument on Bunker Hill, which is but two hundred and twenty feet, and yet looks very high.

When it was built it was covered with a casing of stone, the different pieces being fitted together and polished to a surface like glass; but this covering has been torn away and the stones used for other purposes, which has left the pyramid in a series of two hundred and three rough and jagged steps, some of them being two feet and a half in height, growing less toward the top, but not diminishing with any regularity. The top is now a platform thirty-two feet and eight inches square. Each traveller who ascends this pyramid has from one to four Fellahs or Arabs, who pull him forward or upward by his arms, or push him and lift him from behind, and finally drag him to the top (Fig. 2). When he thinks of all the weary months and days of the twenty years during which it is said that those who built it worked, cutting out the stone in the quarries, moving it to the spot where it was required, and then raising it to the great heights and fitting it all in place, he regards his fatigue in its ascent as a little thing, though at the time it is no joke to him.

Many of the pyramids were encased in stone taken from the Mokattam Mountains, which were somewhat more than half a mile distant; but the pyramid of Cheops was covered with the red Syenite granite, which must have been quarried in the "red mountain," nearly five hundred miles away, near to Syene, or the modern Assouan. The interior of the pyramid is divided into chambers and passages (Fig. 3), which are lined with beautiful slabs of granite and constructed in such a way as to prove that at the remote time in which the pyramids were built Egyptian architects and workmen were already skilled in planning and executing great works. Of the seventy pyramids known to have existed in those early days, sixty-nine had the entrance on the north side, leaving but a single exception to this rule; all of them were situated on the western side of the River Nile, just on the edge of the desert, beyond the strip of cultivable ground which borders the river.

Near the pyramids there are numerous tombs, which are built somewhat like low houses, having several apartments with but one entrance from the outside. The walls of these apartments are adorned with pictures similar to this one of a poulterer's shop (Fig. 4); they represent the manners and customs of the ancient Egyptians with great exactness.

The tombs at Beni-Hassan are among the most ancient ruins of Egypt, and are very interesting (Fig. 5). They were made between 2466 and 2266 B.C. They are on the eastern bank of the Nile, and are hewn out of the solid rock; they are ornamented with sculptures and pictures which are full of interest; it has been said that these tombs were built by the Pharaoh, or king, of Joseph's time, and one of the paintings is often spoken of as being a representation of the brethren of Joseph; but of this there is no proof. The colors of the pictures are fresh and bright, and they show that many of the customs and amusements of that long, long ago were similar to our own, and in some cases quite the same. The manufactures of glass and linen, cabinet work, gold ornaments, and other artistic objects are pictured there; the games of ball, draughts, and morra are shown, while the animals, birds, and fishes of Egypt are all accurately depicted.

An interesting thing to notice about these tombs is the way in which the epistyle—the part resting upon the columns—imitates squarely-hewn joists, as if the roof were of wood supported by a row of timbers. When we come to the architecture of Greece we shall see that its most important style, the Doric, arose from the imitation in stone of the details of a wooden roof, and from a likeness between these tombs and the Doric order, this style has been named the Proto-Doric.

The tombs near Thebes which are called the "Tombs of the Kings," and many other Egyptian tombs, are very interesting, and within a short time some which had not before been observed have been opened, and proved to be rich in decorations, and also to contain valuable ornaments and works of art, as well as papyri, or records of historical value.

The most magnificent of all the Egyptian tombs is that of King Seti I., who began to reign in 1366 B.C. He was fond of splendid buildings, and all the architects of his time were very busy in carrying out his plans. His tomb was not discovered until 1817, and was then found by an Italian traveller, whose name, Belzoni, has been given to the tomb. The staircase by which it is entered is twenty-four feet long, and opens into a spacious passage, the walls of which are beautifully ornamented with sculptures and paintings. This is succeeded by other staircases, fine halls, and corridors, all of which extend four hundred and five feet into the mountain in which the tomb is excavated, making also a gradual descent of ninety feet from its entrance. It is a wonderful monument to the skill and taste of the architects who lived and labored more than three thousand years ago.

The two principal cities of ancient Egypt were Memphis and Thebes. The first has been almost literally taken to pieces and carried away, for as other more modern cities have been built up near it, the materials which were first used in the old temples and palaces have been carried here and there, and again utilized in erecting new edifices.

Thebes, on the contrary, has stood alone during all the centuries that have passed since its decline, and there is now no better spot in which to study the ancient Egyptian architecture, because its temples are still so complete that a good idea can be formed from them of what they must have been when they were perfect. The ruins at Thebes are on both banks of the Nile, and no description can do justice to their grandeur, or give a full estimate of their wonders; but I shall try to tell something of the palace-temple of Karnak, which has been called "the noblest effort of architectural magnificence ever produced by the hand of man."

The word palace-temple has a strange sound to us because we do not now associate the ideas which the two words represent. Many palaces of more modern countries and times have their chapels, but the union of a grand temple and a grand palace is extremely rare, to say the least. Perhaps the Vatican and St. Peter's at Rome represent the idea and spirit of the Egyptian palace-temples as nearly as any buildings that are now in existence.

The Egyptian religion controlled all the affairs of the nation. The Pharaoh, or king, was the chief of the religion, as well as of the State. When a king came to the throne he became a priest also, by being made a member of a priestly order. He was instructed in sacred learning; he regulated the service of the temple; on great occasions he offered the sacrifices himself, and, in fact, he was considered not only as a descendant of gods, but as a veritable god. In some sculptures and paintings the gods are represented as attending upon the kings, and after the death of a king the same sort of veneration was paid to him as that given to the gods. This explains the building of the palace and temple together, and shows the reason why the gods and the kings, and the affairs of religion and of government, could not be separated. As we study the arts of different countries we are constantly reminded that the religion of a people is the central point from which the arts spring forth. From its teachings they take their tone, and adapt their forms and uses to its requirements. I refer to this fact from time to time because it is important to remember that it underlies much of the art of the world.

It may be said that all the art of Egypt was devoted to the service of its religion. Of course this is true of that used in the decoration of the temples; it is also true of all that did honor to the kings, because they were regarded as sacred persons, and all their wars and wonderful acts which are represented in sculpture and painting, and by statues and obelisks, are considered as deeds that were performed for the sake of the gods and by their aid.

It was also the religious belief in the immortality of the soul that led the Egyptians to build their tombs with such care, and to provide such splendid places in which to lay the body, which was the house of the spirit.

In the study of Architecture it will also be noted that a country which has no national religion—or one in which the government and the religion have no connection with each other—has no absolutely national architecture. It will have certain features which depend upon the climate, the building materials at command, and upon the general customs of the people; but here and there will be seen specimens of all existing orders of architecture, and buildings in some degree representing the art of all countries and periods; such architecture is known by the term composite, because it is composed of portions of several different orders, and has no absolutely distinct character.

This palace-temple of Karnak is made up of a collection of courts and halls, and it is very difficult to comprehend the size of all these parts which go to make up the enormous whole. The entire space devoted to it is almost twice as large as the whole area of St. Peter's at Rome, and four times as great as any of the other cathedrals of Europe; a dozen of the largest American churches could be placed within its limits and there still be room for a few chapels. All this enormous space is not covered by roofs, for there were many courts and passages which were always open to the sky, and one portion was added after another, and by one sovereign and another, until the completion of the whole was made long after the Pharaoh who commenced it had been laid in one of the tombs of the kings.