The Glory That Was Greece: a survey of Hellenic culture and civilisation — John Shaqi
The Glory That Was Greece: a survey of Hellenic culture and civilisationStobart, J. C. (John Clarke)
History
The Glory That Was Greece: a survey of Hellenic culture and civilisation
Stobart, J. C. (John Clarke)
Art, Greek; Greece -- Civilization -- To 146 B.C.
His house was generally of mud and wattles, but there are some examples
of stone-built houses on a rectangular plan. In Thessaly, where
Neolithic culture survived right through the flourishing periods of art
in Crete and Mycenæ, they have even found Neolithic houses with three
rooms and the sockets for wooden pillars. Caves were still used as
dwellings, and there is also a round type of hut, derived, no doubt,
from the still more primitive tent of skin and wickerwork. Of the
religion of the Late Stone Age we know nothing, except that they buried
their dead with care in tombs resembling their
[Illustration: PLATE IV.--ASSYRIAN RELIEF: KING ASSUR-NASIR-PAL (9TH
CENTURY B.C.) _Mansell & Co._]
dwelling-places. Archæology has a rough method of assigning dates by
allowing about a thousand years for every three feet of deposited earth;
on this reckoning we may date the Neolithic period in Crete anywhere
before 4000 B.C.
Then gradually comes the beginning of the Bronze Age. All civilisation
may be regarded as a progress in tools and weapons. Nowhere is the
history of Europe traced with a clearer pen than in its armouries. As
the guns of Crécy foretold the passing of chivalry, so the discovery of
that alloy of copper and tin, which produced a metal soft enough to
mould and hard enough to work with, meant a step forward for
civilisation. At first, of course, bronze is rare and costly; it is
confined to short dagger-blades and spear-points. Along with the
earliest bronze we find an advance in the pottery, paint used to trace
the patterns, though the designs are still those of dot and line;
experiments are being made with colours and glazes. In experiment is the
germ of progress; the conventional artists of the East imitate and
sometimes improve their models, but they seldom make experiments. In
Assyria and Egypt they have produced wonderful and beautiful works of
art.[4] But with them art is ornament; there is no ideal, no striving to
get nearer to the truth of things. The Oriental sculptor soon loses
touch with Nature, and as his technique advances learns only the
language of convention.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account