The Arts and Crafts of Ancient Egypt

Nonfiction, Religion & Spirituality, New Age, History, Fiction & Literature
Cover of the book The Arts and Crafts of Ancient Egypt by William Matthew Flinders Petrie, Library of Alexandria
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: William Matthew Flinders Petrie ISBN: 9781465594662
Publisher: Library of Alexandria Publication: March 8, 2015
Imprint: Language: English
Author: William Matthew Flinders Petrie
ISBN: 9781465594662
Publisher: Library of Alexandria
Publication: March 8, 2015
Imprint:
Language: English

The art of a country, like the character of the inhabitants, belongs to the nature of the land. The climate, the scenery, the contrasts of each country, all clothe the artistic impulse as diversely as they clothe the people themselves. A burly, florid Teuton in his furs and jewellery, and a lithe brown Indian in his waist-cloth, would each look entirely absurd in the other’s dress. There is no question of which dress is intrinsically the best in the world; each is relatively the best for its own conditions, and each is out of place in other conditions. So it is with art: it is the expression of thought and feeling in harmony with its own conditions. The only bad art is that which is mechanical, where the impulse to give expression has decayed, and it is reduced to mere copying of styles and motives which do not belong to its actual conditions. An age of copying is the only despicable age. It is but a confusion of thought, therefore, to try to pit the art of one country against that of another. A Corinthian temple, a Norman church, or a Chinese pavilion are each perfect in their own conditions; but if the temple is of Aberdeen granite, the church of Pacific island coral, and the pavilion amid the Brighton downs, they are each of them hopelessly wrong. To understand any art we must first begin by grasping its conditions, and feeling the contrasts, the necessities, the atmosphere, which underlie the whole terms of expression. Now the essential conditions in Egypt are before all, an overwhelming sunshine; next, the strongest of contrasts between a vast sterility of desert and the most prolific verdure of the narrow plain; and thirdly, the illimitable level lines of the cultivation, of the desert plateau, and of the limestone strata, crossed by the vertical precipices on either hand rising hundreds of feet without a break. In such conditions the architecture of other lands would look weak or tawdry. But the style of Egypt never fails in all its varieties and changes.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

The art of a country, like the character of the inhabitants, belongs to the nature of the land. The climate, the scenery, the contrasts of each country, all clothe the artistic impulse as diversely as they clothe the people themselves. A burly, florid Teuton in his furs and jewellery, and a lithe brown Indian in his waist-cloth, would each look entirely absurd in the other’s dress. There is no question of which dress is intrinsically the best in the world; each is relatively the best for its own conditions, and each is out of place in other conditions. So it is with art: it is the expression of thought and feeling in harmony with its own conditions. The only bad art is that which is mechanical, where the impulse to give expression has decayed, and it is reduced to mere copying of styles and motives which do not belong to its actual conditions. An age of copying is the only despicable age. It is but a confusion of thought, therefore, to try to pit the art of one country against that of another. A Corinthian temple, a Norman church, or a Chinese pavilion are each perfect in their own conditions; but if the temple is of Aberdeen granite, the church of Pacific island coral, and the pavilion amid the Brighton downs, they are each of them hopelessly wrong. To understand any art we must first begin by grasping its conditions, and feeling the contrasts, the necessities, the atmosphere, which underlie the whole terms of expression. Now the essential conditions in Egypt are before all, an overwhelming sunshine; next, the strongest of contrasts between a vast sterility of desert and the most prolific verdure of the narrow plain; and thirdly, the illimitable level lines of the cultivation, of the desert plateau, and of the limestone strata, crossed by the vertical precipices on either hand rising hundreds of feet without a break. In such conditions the architecture of other lands would look weak or tawdry. But the style of Egypt never fails in all its varieties and changes.

More books from Library of Alexandria

Cover of the book Little Memoirs of the Nineteenth Century by William Matthew Flinders Petrie
Cover of the book The Old and the New Magic by William Matthew Flinders Petrie
Cover of the book Scarlet and Hyssop: A Novel by William Matthew Flinders Petrie
Cover of the book Sweet Hours by William Matthew Flinders Petrie
Cover of the book Kansas Women in Literature by William Matthew Flinders Petrie
Cover of the book South Africa and the Transvaal War, Vol. II From the Commencement of the War to the Battle of Colenso, 15th Dec. 1899 by William Matthew Flinders Petrie
Cover of the book Strange Stories from a Chinese Studio (Complete) by William Matthew Flinders Petrie
Cover of the book My Double Life: The Memoirs of Sarah Bernhardt by William Matthew Flinders Petrie
Cover of the book The Parenticide Club by William Matthew Flinders Petrie
Cover of the book Astrology: How to Make and Read Your Own Horoscope by William Matthew Flinders Petrie
Cover of the book The Influence of Sea Power upon the French Revolution and Empire 1793-1812 (Complete) by William Matthew Flinders Petrie
Cover of the book Our Little Turkish Cousin by William Matthew Flinders Petrie
Cover of the book The Relations of Science and Religion: The Morse Lecture, 1880 by William Matthew Flinders Petrie
Cover of the book The Aurora of The Philosophers by William Matthew Flinders Petrie
Cover of the book Harmonies of the World by William Matthew Flinders Petrie
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy