Part 8
This natural decadence of art in Greece was hastened by the invasion of the barbarous Dorians about 1000 B. C. Art, however, was by no means extinguished, but only repressed by the troubles of the age; and Athens, which was not conquered by the Dorians, was the main centre of the revival of the arts. Other examples of such a history are familiar in Egypt (after the Hyksos invasion) and in Italy (after the Lombards), where earlier abilities revive and bloom afresh when vigorous invaders become united to an artistic stock. After the centuries of warfare a quieter age allowed the growth of fine arts again in the seventh century B. C., largely influenced by Egyptian and Assyrian work at second hand, through the Greek settlements in Cyprus and Egypt. By 600 B. C. definite types of sculpture were started, and a course was begun which only ended in the fall of classical civilization. The century before the Persian invasion, in 480 B. C., was one of rapid development; and in sculpture and vase-painting we see that this century carried forward the arts to technical perfection and the highest power of expression. Immediately after the Persian wars came the supreme works of Pheidias and Myron, most familiar in the Parthenon and the Discobolus; and in vase-painting comes the reversal from vases drawn in black on a red ground to the blocking out of the ground in black, leaving the figure in red, thus giving far greater scope to the filling in of finely drawn detail. The civilization of Athens was also at its height in this age, under Pericles, and the minor arts received their most refined and perfect treatment. After this comes nothing but ripening to decay. It must always be remembered that we have but very few examples of original work of the great artists. Nearly all the actual marbles preserved are copies made in later times, which show little of the delicacy of the original; and the few original marbles that remain are mostly of unknown subjects by unknown men. The great work in Greek archæology during the last fifty years has been comparing the records of ancient art (in Pliny, Pausanias, etc.) with the remaining sculptures, critically assigning the various types of statues to their celebrated originals, and thus forming some idea of the real history of Greek art.
From these studies, full of detail and controversy, we may briefly sum up the characteristics of the principal artists and their imitators. At about 440 B. C. Pheidias showed in the Parthenon the highest expression of divine and mythic forms, in a simple and heroic style which was never equalled. Half a century later Polykleitos followed a more human expression, using motives (as in the Doryphoros), but yet portraying an abstract humanity. By 330 B. C. Praxiteles brought the expression of moods to his works, graceful, animated, and with a full ripeness, as in the Hermes of Olympia, or the Faun. Skopas, slightly later, marked his work by his great vigor and strong personality. This was the second turning-point, when ripeness passed into decay; and in Lysippos there is mere vivid naturalism and an impressionist manner without much soul or thought, as in his Apoxyomenos, about 330 B. C. After this mere triviality and genre subjects are usual, portraiture is a common aim, and dignity was vainly striven for in colossal size. The glorification of showing dead and vanquished enemies is seen in the Dying Gaul and figures of slain foes at Pergamon. Later on, about 180 B. C., we see the violent, complicated, and straining action of the figures around the great altar of Pergamon, which also appears in the groups of the Laocoon and Farnese Bull. In the Græco-Roman age a conscious artificiality took the place of life and expression, as we see in the Apollo Belvidere, the Venus di Medici, and the Farnese Hercules. Art was saved in the first century A. D. by the devotion of portraiture, which gave a sense of reality and conviction which is entirely absent in the imaginative works. Lastly, a painstaking study and admiration of earlier works led, under the wealthy patronage of Hadrian (130 A. D.), to an eclectic revival which was wholly artificial, and passed away within a generation. We have fixed on sculpture as the most complete expression of Greek art; in other directions there is neither enough material nor enough research to give us a connected view. Not a single town, hardly a single house, in Greece has been excavated; there is no consecutive knowledge of the ordinary products and objects of life; and there is very little recorded of the discoveries of the tombs. The artistic interest of the sculpture and architecture has starved other branches of archæology, and for Greece more remains to be done than for some less celebrated lands.
ITALY
The interest in Italy at the beginning of the nineteenth century was mainly for the sake of its second-hand version of Greek art, and for the architecture and painting of the Renaissance. On the contrary, now the objects from Greece itself have far eclipsed the Italian copies, and the interest lies in the early Italian civilization and its purely Roman derivatives; while modern taste values the mediæval art of Italy far from the bastard products of the florid age which followed. The first detailed studies in Italy were those on Pompeii, especially by Gell (1817), which made that debased style very popular, and paved the way for appreciation of better work. The various isolated discoveries of Etruscan tombs were summed up in the admirable work of Dennis (1848), which presented a general view of that civilization which has not been superseded. The earlier Italic culture has been examined in many places where accidental discoveries have revealed it during the latter half of the nineteenth century, and especially in the systematic work of Zannoni, at Bologna (1870–75), and of Orsi, lately, in Sicily. The history of the city of Rome has been almost rewritten in the last thirty years owing to the great changes of the new government; these have been largely worked by Lanciani, and recorded by him and Middleton. The view of Italian history at present begins in the Stone age, which has been well studied, and has links with the later periods, as in the general use of black pottery. The earliest metal objects are very simple blades of daggers, found in graves, mingled with flint arrow-heads and knives. The admirable Italian plan of preserving whole burials undisturbed in museums enables us to see these graves complete in the Kircherian Museum. A special branch of the early Bronze age life was the system of lake dwellings (natural or artificially water girt), which abound in the northern Italian lakes and over the plain of Lombardy. These towns (“terra mare”) are arranged on a rectangular plan, and form the earliest stage of many of the present cities. The full development of the Bronze age civilization seems to have been later than in Greece, at about 800 B. C., to which belong the great discoveries of tombs, weapons, and tools at Bologna, and the cemetery of Falerii.
Upon all the native Italic civilization came an entirely different influence from the immigrant Etruscan. Traditionally coming from Asia Minor, he brought art and religion which had no relation to the Italic. The earliest Etruscan paintings are strongly northern in style, influenced by north European feeling (Veii). But soon the Etruscan borrowed largely from other races, from the Greek mainly, but also from Assyria and Egypt. Thus the fascinating problem in Italy is to distinguish the various sources of Italic, Etruscan, Græco-Etruscan, Oriental-Etruscan, and pure Greek, which are found in all degrees of combination before Roman times, and which can still be traced through the Roman age. The characteristics of Etruscan taste are: (1) The extraneous objects and figures, such as rows of pendants to a metal vase, monstrous heads standing out from a bowl, and statuettes placed for handles; (2) in forms of vases and furniture, the combination of many different parts and curves which never form a whole design; (3) and in sculpture the large round head and staring eyes. In general, an air of clumsy adaptation by a race deficient in originality. The glory of the Etruscan was his engineering, which he handed as a legacy to Rome. Strange to say, although thousands of Etruscan inscriptions are known, and many words are translated, yet the language is sealed to us, and none of the many attempts to read it has succeeded. The scientific study of Etruscan tombs has been well followed lately, as shown in the Florence Museum, where a separate room is devoted to each city.
In the south of Italy Greek art prevailed, and many of the finest works belong to this civilization. The Greek in Italy had rather different ideals to those of Greece; he started more from the level of Polykleitos and Praxiteles than from the severe age; his favorite type is that of youth and adolescence, never of maturity. The grace and feeling of such bronze statues as the Hermes and so-called Sappho of Herculaneum are peculiar to southern Italy. And when the Greek artist penetrated north and allied himself with the mechanical skill of the Etruscan, such splendid work was done as the Orator of Sanguineto.
Rome in the earlier centuries was an Italic town which came under Etruscan influence as Tuscany was conquered. But from the age of foreign conquest in the first century B. C., Greek art in a debased form ruled over all else, and ran into utter degradation in the third century A. D. It was this art that the power of Rome spread around the whole Mediterranean, from Palmyra to Britain, and is the parent of most modern decoration. But in the great reconstruction of the empire under Diocletian the debased Greek taste was mostly shaken off, and Rome went back to the old Italic-Etruscan style and motives. The statues have the round heads and staring eyes of old Etruria; the taste for quaint accessories, such as lions supporting objects, came back and passed into mediæval art, and the exaggerated, lengthy forms of men and animals reappeared.
Of the Christian period De Rossi’s work in the catacombs has given a firm base of facts for the third to the sixth century A. D., the actual tomb and body of Saint Cecilia being the most striking result. The later Roman and mediæval age in Italy is full of interest, but in that—as in the rest of mediæval Europe—research has been mainly on architecture and objects which are not the result of excavation.
INDIA
The Hindus have never been chronologists or historians, and their great Sanskrit literature tells practically nothing about the rise of Buddhism, the invasion of Alexander, or the spread of civilization in Indo-China. All before the Islamic conquest in the tenth century A. D. is in a mist of Puranic mythology. Here, then, more than in other countries, archæology has restored the history, and done so entirely within the nineteenth century.
The existence of Sanskrit literature was revealed to the West by Sir William Jones at the end of the last century, and this gave scope to Oriental scholars, while antiquities only interested the collector. But serious exploration was led by Prinsep, whose decipherment of the Asoka inscriptions in 1837, which ranks with the achievements of Champollion and Rawlinson, gave the key to a mass of inscriptions.
His assistant, Cunningham, excavated many sites and collected coins, being head of the Archæological Survey from 1861 to 1885. Fergusson was the historian of Indian architecture; Burgess has published the cave-temples in west and south India; Sewell in Madras and Führer in the northwest have excavated and explored, and a few native pundits have been educated to such research. The government, in financial difficulty, has withdrawn from the work, but the congress of Orientalists in 1897 resolved to establish an Indian exploration fund.
Inscriptions abound in India, on copper plate, stone pillars, and native rock. Those in Sanskrit, or modern vernaculars, are records of land grants or local dynasties. The oldest—in two different alphabets (of Semitic origin)—are the famous edicts of Asoka (third century B. C.), who has been called The Buddhist Constantine. He placed these monuments of his power and religion around his frontiers of northern India; but their meaning was forgotten until Prinsep’s decipherment. The Hindus seem to have a coinage of stamped silver plate before Alexander; but regular coinage begins in the Bactrian kingdoms (200 B. C.–200 A. D.), with Greek and native inscriptions. Since then the coinage is continuous, and invaluable for history. No stone building or sculpture is older than Alexander (327 B. C.), or certainly earlier than Asoka (264–233 B. C.). Greek influence is plain in the Punjab, but native style is seen in the cave-temples. The richest results have been from the mounds, some of which are ruins of forts or palaces, but the more important are the _stupas_, lofty domes erected two to one thousand years ago to enshrine Buddhist relics. These domes are surrounded with sculptured reliefs of scenes in the life of Buddha, and are often dated by inscriptions. From one lately opened the Buddha relic has been sent to the King of Siam, the only Buddhist king. Much has been done by the government in publishing and providing casts and photographs; but India yet needs a scientific archæologist to record details with the accuracy demanded by modern research.
AMERICA
Archæological work in the United States and in Central America was begun by Squier about the middle of the century, and the attention thus drawn to the subject has borne fruit in the more accurate and scientific explorations connected with the surveying and geological departments, and, above all, those of the Smithsonian Bureau of Ethnology. The names of Whitney, Wright, Cyrus Thomas, Holmes, Fowke, Mindeleff, and others, will be familiar to all American readers by their work of the last twenty years, and need no introducing here.
The earliest remains of man in America—or perhaps in the world—are those beneath the great lava beds of California; since those were deposited the rivers have cut their beds through two thousand to four thousand feet of lava rock, implying an erosion during tens, or perhaps hundreds, of thousands of years. But little can be assigned, however, with any certainty to a date before the Christian era, though mounds of refuse on both ocean shores may probably belong to an age before any human history.
The most important studies have been those on the highest civilization of the continent, that of Central America. The destroying Spaniards preserved but little of native record, except incidentally, and the first collector of Aztec manuscripts was Benaduci (1736), of whose treasures but an eighth survived his imprisonments and persecutions, one of the greatest disasters to history. The first great publication of manuscripts was the magnificent work of Lord Kingsborough (1830); and almost at the same time appeared Prescott’s history. Though the later researches have shown that the land was divided into many small kingdoms, rather than under one power, as Prescott supposed, yet his account of the calendar and chronology of the Aztecs has been verified and added to, and far more has been done in reading the manuscripts than he supposed possible. Aubin, after years of work in Mexico, brought to Europe manuscripts of an entirely new kind, showing a fully developed system of phonetic writing, which he has largely deciphered with success, having analyzed over one hundred syllabic values correctly.
One of the most complete studies has been that of the Mayan Quiché peoples, and especially of the Mayans of Yucatan. In 1864 Landa’s work on Yucatan (written 1566) was rediscovered, and the account of the calendar has sufficed to enable Goodman to discover the meaning of a very large number of signs (1897); these enable the numerical documents to be translated, and show that a period of as much as eight thousand years was dealt with by the Mayans, perhaps belonging to mythical ages. The alphabetic signs of Landa have proved useless so far, and Goodman even disbelieves in any record except that of numbers. Seler has shown the identical origin of the signs used by Aztecs and Mayans for the days and months. Little had been done to make known these remains until the recent explorations, casts, and publications of Maudsley, who has worked magnificently for seventeen years at Copan, Palenque, and Chichen-Itza; these, however, are but three of innumerable cities of Guatemala and Yucatan that need exploration.
In New Mexico the many ruins from the Colorado to the Rio Grande have been proved to resemble those of the modern Pueblo Indians, and to have none of the characteristics of Central American architecture; there are no sculptures, and the rock inscriptions are too primitive to be interpreted. Nothing points to an Aztec occupation, and probably the ancestors of the present people were the builders.
The innumerable earthworks of the Mississippi valley were formerly supposed to belong to some vanished race. And the view that they were connected with the Central American civilization is favored by the pyramid mound, which was hardly known otherwise, and by the excellence of the minor sculpture. But there are great differences between the two civilizations. The mound-builders were far inferior in metal-working, and their burial customs are peculiar. The use of materials from both east and west coasts shows an extensive commerce. The best summing up of the researches is that by Prof. Cyrus Thomas, after his extensive excavations. He concludes that the remains of the mound-builders show no great antiquity; that they were formed by tribes like the existing Indians; that the builders were of the same culture as were the Indians when discovered; that such mounds continued to be made and used for burial during the European period, and that the principal builders were the Cherokees.
It will be seen now how totally our view of man’s history has been changed by the study of archæology, and how fundamentally this science affects our ideas of the past and our expectations for the future of our race. The main outlines have been dimly seen; but in every country the greater part yet remains to be done, and in Turkey, Persia, and China most important civilizations are as yet quite untouched by exploration. The new century will no doubt see a harvest from these lands; and it is to be hoped that what yet remains in the safe keeping of the earth may be found by able men, who will preserve it for instruction and enable posterity to trace the fortunes of our species.
[India and America are here treated with the assistance of Mr. J. S. Cotton and Mr. D. MacIver.]
W. M. FLINDERS PETRIE.
ASTRONOMY
In looking back over a century’s work in the oldest of the sciences, one is struck not only by the enormous advance that has been made in those branches of the science dealing with the motions of the heavenly bodies which were cultivated at least eight thousand years ago by early dwellers in the valleys of the Nile, Tigris, and Euphrates, but with the fact that during the century that has just passed away a perfectly new science of astronomy arose. By annexing physics and chemistry astronomers now study the motions of the particles of which all celestial bodies are composed; a new molecular astronomy has now been firmly established side by side with the old molar astronomy which formerly alone occupied the thoughts of star-gazers.
Along this new line our knowledge has advanced by leaps and bounds, and the results already obtained in expanding and perfecting man’s views of nature in all her beauty and immensity are second to none which have been garnered during the last hundred years.
THE POSITION AT THE BEGINNING OF THE CENTURY
It may be well before attempting to obtain a glimpse of recent progress that we should try to grasp the state of the science at the time when the nineteenth century was about to dawn, and this, perhaps, can be best accomplished by seeing what men were working at this period, at which the greatest activity was to be found in Germany; there was no permanent observatory in the southern hemisphere or in the United States.
First and foremost among the workers—he has, in fact, been described as “the greatest of modern astronomers”—was William Herschel, a German domiciled in England. In the year 1773 he hired a telescope, and with this small instrument he obtained his first glimpses of the rich fields of exploration open in the skies. From that time onward he had one fixed purpose in his mind, which was to obtain as intimate knowledge as possible of the construction of the heavens.
To do this, of course, great optical power was necessary, and such was his energy that, as large instruments were not to be obtained at any price, he set to work and made them himself.
Herschel presented the beginning of the nineteenth century not only with a definite idea of the constitution of the stellar system, based on a connected body of facts and deductions from facts, as gleaned through his telescopes, but observations without number in many fields. He discovered a new planet, Uranus, and several satellites of the planets; published catalogues of nebulæ; established the gravitational bond between many “double stars,” and carried on observations of the sun, then supposed to be a habitable globe. What Herschel did for observational astronomy and deductions therefrom, Laplace did for the furtherance of our knowledge concerning the exact motions of the bodies comprising the solar system. Newton had long before announced that gravitation was universal, and Laplace brought together investigations undertaken to determine the validity of this law. These were given to the world in his wonderful book on _Celestial Mechanics_, the first volumes of which appeared in 1799.
A survey of the work of these two great astronomers gives one an idea of what was going on in observational and mathematical astronomy at the beginning of the century.
The study was now destined to make rapid strides, as not only were new optical instruments—some designed for special purposes—introduced, new mathematical processes applied, fresh fields for research opened up, but the number of workers was considerably augmented by the increased means available; so much so, indeed, that the first astronomical periodical was founded by Von Zach in 1800 to facilitate intercommunications between the observers.
The first evening of the nineteenth century (January 1, 1801) augured well for progress. It had long been thought that all the members of the solar system had not as yet been discovered, and there was a very notable gap between the planets Mars and Jupiter, indicated by Bode’s law. Observers were organized to make a thorough search for the missing planet, portions of the sky being divided between them for minute examination. It fell to the Italian observer, Piazzi, to discover a small body which was moving in an orbit between these two planets on the date named. The century thus began with a sensation, and because the new body, which was named “Ceres,” was not of sufficient size to be accepted as the “missing planet,” the idea was suggested that perhaps it was a fragment of a larger planet that had been blown to pieces in the past.
An opportunity here arose for mathematical astronomy to come to the help of the observer, for Ceres soon was lost in the solar rays, and in order to rediscover it, after it had passed conjunction, an approximate knowledge of its path and future position was necessary.