A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and OrnamentationZerffi, G. G. (Gustavus George)
History
A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and Ornamentation
Zerffi, G. G. (Gustavus George)
Art -- History
The Oceanic Negro is the best example of this group. He is slow of
temperament, unskilled, his mechanical ingenuity being that of a child;
he never goes beyond geometrical ornamentation; builds tumuli or
triangular wigwams; lives on what he finds by chance, and, at the best,
hunts or fishes. His reasoning faculty is very limited, his imagination
slow, but his perceptive faculties (the senses) are highly developed.
He is altogether incapable of rising from a fact to a principle. He
cannot create beauty, for he is indifferent to any ideal conception.
He possesses only from 75-83½ cubic inches of brain, his facial angle
being about 85½ degrees. This lowest group of mankind branches off into
different types. The general features of the group have neither changed
nor improved. The Negro is still the woolly-headed, animal-faced being,
represented on the tombs of the Pharaohs, because his bodily structure,
his facial lines have not altered during thousands of years. In
studying the artistic products, the customs and manners of this group,
we can picture to ourselves the state in which Asiatics and Europeans
must have lived during the oldest stone period. The Negroes use the
same kind of flint instruments, manufacture the same crude kind of
pottery, adorn their clubs, paddles, and the cross-beams of their huts
with the same rope and serpent-like entangled windings and twistings,
that are found in various parts of the globe of pre-historic times. The
ruling lines of the face and head of the Negro are reflected in his
triangular or mound-like architectural constructions.
II.
[Illustration]
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