SO-CALLED TR

PARTHENON MALE

THE FINE ARTS

BY

G. BALDWIN BROWN

SOMETIME Fellow of BRASENOSE COLLEGE, OXFord, and
PROFESSOR OF FINE ART IN THE UNIVERSITY OF EDINBURGH

COPYRIGHT, 1891, BY

CHARLES SCRIBNER'S SONS

Reserve 22 Mch. His toul state = 1906 eâ,

§§ 1. Intention and Plan of the Work-2. Origin of Art in free and

spontaneous activity-3. Is there a pre-artistic state of Human

Society?-4. The earliest races are already artistic-5. To find the

beginnings of Art we must find the beginnings of free activity, or

'play'-6. The Play-impulse as described by Mr. Herbert Spencer

-7. The relation of 'play' to Art-8. Art is 'play' under the

influence of the principle of Order-9. The element of Order is

wanting in the 'play' of animals-10. An Illustration from the

most artistic work of animals-11. Summary of results up to this

point-12. Importance of Freedom as a characteristic of artistic

activity-13. Importance of social institutions in stimulating Art

in simple forms such as the Dance, personal Adornment and

Decoration-14. The Festival, and the stimulus it affords to

artistic activity in various forms-15. The festal origin of graphic

and plastic Decoration-16. and of monumental Sculpture—17.

and especially of Architecture-18. The ideal character of the

earliest permanent monuments-19. Survival of the spirit of the

earliest monuments in later Architecture and Sculpture-20. The

festal character of early Architecture shown in the Egyptian

Temple-21. and in the Temple of the Greeks-22. Tabular

view of the beginnings of the Arts.

Pages 1-40

CHAPTER II

THE FESTIVAL, IN ITS RELATION TO THE FORM AND SPIRIT OF
CLASSICAL ART

§§ 23. The Festival creates the artist-24. The festal Dance among

savages-25. and among modern and ancient Greeks-26. Char-

acteristics of the ancient Dance as a form of Art-27. Influence

of the Dance on Sculpture 28. The mimic Dances - 29.

Effect of the mimic Dances upon Sculpture and Painting-30.

Evolution of the Drama from the mimic Dance-31. Slight influ-

ence of the Drama on Sculpture-32. Early Sculpture in its

relation to the Festival-33. Mature Sculpture also in Greece the

expression of popular ideals-34. Fundamental characteristics of

Hellenic Art-35. The underlying idea of Greek Sculpture-Hellas

in opposition to the non-Hellenic-36. 'Hellas,' in the celestial,

the legendary, the historical spheres-37. Ideal representation in

Art of the contests of Hellas against the non-Hellenic-38. Con-

centration of the interest of these contests in typical Protagonists

-39. The Types peopling the Hellenic world-40. The Olympian

Pantheon-41. The characterisation in Sculpture of the Types-

42. Maintenance of the essential character of the Types through

variations-43. Flexibility of the Types in the hands of the Sculp-

tors-44. Winckelmann on the Classical Ideal-45. True meaning

of Ideal' in connection with Greek Art-46. Supremacy of the

Greek sculptors-47. Sculpture the expression of the Greek moral

idea

41-70

CHAPTER III

MEDIEVAL FLORENCE AND HER PAINTERS

§§ 48. Survival of the Festival in early Christian times-49. and of its

influence in stimulating Art-50. How Christian Painting began-

51. The Florentines as representing mediæval culture and art--

52. The Florentine pageant and mystery-play-53. Effect of these