DOI Page / Citation link:
https://doi.org/10.11588/diglit.73713#0119
RAPHAEL MENGS. 114
Which is called Idolatry. It might be also that
it had abeginning hill more innocent,such as seek-
ing by means of images to conserve the memo-
ry of persons beloved, or of talents, or merit
superior to others, or perhaps to signify some
quality of nature, by means of figures, in order
to instrudt the ignorant, as we know they
pra&ised in Egypt. That nation could not per-
fedthese arts, although they pradtised them there
for many ages, because their religious worship
opposed it, as it did not permit the artists to
depart from the established form of their Idols,
and because the class of Citizens who em-
ployed them were yet held as vulgar. To these
reasons they united others to impede the progress
of the arts, and the principal one was, that the
Egyptians, as well as the Caldeians, Arabs, and
others who executed some figures, were too
ignorant and unpolished to be able to produce
things which were not very vulgar. It is natu-
tal to man to have a propensity and attachment
for material things which fall under the senses;
and for that reason other nations who came af-
terwards, although they were in times more
enlightened, sollowed the first inventors, nor did
they ever entirely depart from their low style.
The same has happened at the revival of the
arts in Europe, as I shall say in its place.
When the arts of Design were introduced in-
to some parts of Greece, and in others were in-
vented, they presently took the best form, as
well because these people had the best instruc-
tion, as because they were of the greatest
Which is called Idolatry. It might be also that
it had abeginning hill more innocent,such as seek-
ing by means of images to conserve the memo-
ry of persons beloved, or of talents, or merit
superior to others, or perhaps to signify some
quality of nature, by means of figures, in order
to instrudt the ignorant, as we know they
pra&ised in Egypt. That nation could not per-
fedthese arts, although they pradtised them there
for many ages, because their religious worship
opposed it, as it did not permit the artists to
depart from the established form of their Idols,
and because the class of Citizens who em-
ployed them were yet held as vulgar. To these
reasons they united others to impede the progress
of the arts, and the principal one was, that the
Egyptians, as well as the Caldeians, Arabs, and
others who executed some figures, were too
ignorant and unpolished to be able to produce
things which were not very vulgar. It is natu-
tal to man to have a propensity and attachment
for material things which fall under the senses;
and for that reason other nations who came af-
terwards, although they were in times more
enlightened, sollowed the first inventors, nor did
they ever entirely depart from their low style.
The same has happened at the revival of the
arts in Europe, as I shall say in its place.
When the arts of Design were introduced in-
to some parts of Greece, and in others were in-
vented, they presently took the best form, as
well because these people had the best instruc-
tion, as because they were of the greatest