DOI Page / Citation link:
https://doi.org/10.11588/diglit.12609#0290
SCHOOLS OF ART.
265
One cannot rise from the contemplation of any
ancient school of art without doing homage to the
genius of Greece. Rigidity and parallelism charac-
terised the statuary of Egypt. In the works of
Persia, laborious finish was no palliative of rude and
graceless design. India, with her abominable super-
stitions, sank to the grotesque and the frightful.
Our own Gothic artists — masters as they were in
architecture-—fell into attitudinarian stiffness. Greek
artists alone avoided all these varieties of mannerism,
separated the accidental from the essential, and
uniting scattered elements of beauty and sub-
limity, rose to the epic and the ideal.
CEILING OP A TOMB.
265
One cannot rise from the contemplation of any
ancient school of art without doing homage to the
genius of Greece. Rigidity and parallelism charac-
terised the statuary of Egypt. In the works of
Persia, laborious finish was no palliative of rude and
graceless design. India, with her abominable super-
stitions, sank to the grotesque and the frightful.
Our own Gothic artists — masters as they were in
architecture-—fell into attitudinarian stiffness. Greek
artists alone avoided all these varieties of mannerism,
separated the accidental from the essential, and
uniting scattered elements of beauty and sub-
limity, rose to the epic and the ideal.
CEILING OP A TOMB.