A History of Art in Ancient Egypt, Vol. 1 (of 2)Perrot, Georges
History
A History of Art in Ancient Egypt, Vol. 1 (of 2)
Perrot, Georges
Art -- Egypt -- History; Egypt -- Antiquities
Now that we are enabled to contrast the statues of the Ptolemaic
period with those of the pyramid builders, we find nothing surprising
in Mariette's language; but even before these means of study were open
to us, criticism should have cast more than doubt upon the assertions
of Plato; it should have appealed from a theory which was at variance
with all historical analogies to the monuments themselves to tell the
truth, to those monuments which were best known and understood. Was it
likely, was it possible, that such a people as that which created
these monuments, should remain for more than forty centuries
unaffected by the law of continual, even if almost insensible, change?
What right have we thus to place Egypt and China apart from the rest
of humanity? There are, it is true, some peoples who are more attached
than others to traditional customs and ancient institutions; they are
more conservative, to use the modern phrase. But, although their
evolution is a slower process, it is there; our eyes cannot perceive
any movement in the small hand of a watch, but yet it does move
exactly in the same fashion as that which marks the seconds. Upon the
banks of the Peiho as upon those of the Nile, upon the whole surface
of our planet, man _is_ not; he _becomes_, to borrow one of the
favourite expressions of German philosophy. History can admit no
exception to this law either for China or Egypt. In the cases of both
those countries there is a certain illusion, which is to be explained
by our ignorance. We are not well enough acquainted with them to grasp
the different periods of their political and social, their artistic
and literary development. For one who is too far off or very
short-sighted the details of the most varied landscape become
obliterated or confused; waste land and smiling fields are blended
together; hollows and hillocks lose the vigour of their contours.
Public-domain text, read in full here on John Shaqi.
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