Before passing to other classes of facts, it should be observed that the evolution of the homogeneous into the heterogeneous is displayed not only in the separation of Painting and Sculpture from Architecture and from each other, and in the greater variety of subjects they embody, but it is further shown in the structure of each work. A modern picture or statue is of far more heterogeneous nature than an ancient one. An Egyptian sculpture-fresco usually represents all its figures as at the same distance from the eye; and so is less heterogeneous than a painting that represents them as at various distances from the eye. It exhibits all objects as exposed to the same degree of light; and so is less heterogeneous than a painting which exhibits its different objects and different parts of each object as in different degrees of light. It uses chiefly the primary colours, and these in their full intensities; and so is less heterogeneous than a painting which, introducing the primary colours but sparingly, employs numerous intermediate tints, each of heterogeneous composition, and differing from the rest not only in quality but in strength. Moreover, we see in these early works great uniformity of conception. The same arrangement of figures is perpetually reproduced – the same actions, attitudes, faces, dresses. In Egypt the modes of representation were so fixed that it was sacrilege to introduce a novelty. The Assyrian bas-reliefs display parallel characters. Deities, kings, attendants, winged-figures and animals, are time after time depicted in like positions, holding like implements, doing like things, and with like expression or non-expression of face. If a palm-grove is introduced, all the trees are of the same height, have the same number of leaves, and are equidistant. When water is imitated, each wave is a counterpart of the rest; and the fish, almost always of one kind, are evenly distributed over the surface. The beards of the kings, the gods, and the winged-figures, are everywhere similar; as are the manes of the lions, and equally so those of the horses. Hair is represented throughout by one form of curl. The king's beard is quite architecturally built up of compound tiers of uniform curls, alternating with twisted tiers placed in a transverse direction, and arranged with perfect regularity; and the terminal tufts of the bulls' tails are represented in exactly the same manner. Without tracing out analogous facts in early Christian art, in which, though less striking, they are still visible, the advance in heterogeneity will be sufficiently manifest on remembering that in the pictures of our own day the composition is endlessly varied; the attitudes, faces, expressions, unlike; the subordinate objects different in sizes, forms, textures; and more or less of contrast even in the smallest details. Or, if we compare an Egyptian statue, seated bolt upright on a block, with hands on knees, fingers parallel, eyes looking straight forward, and the two sides perfectly symmetrical in every particular, with a statue of the advanced Greek school or the modern school, which is asymmetrical in respect of the attitude of the head, the body, the limbs, the arrangement of the hair, dress, appendages, and in its relations to neighbouring objects, we shall see the change from the homogeneous to the heterogeneous clearly manifested.
In the co-ordinate origin and gradual differentiation of Poetry, Music, and Dancing, we have another series of illustrations. Rhythm in words, rhythm in sounds, and rhythm in motions, were in the beginning parts of the same thing, and have only in process of time become separate things. Among existing barbarous tribes we find them still united. The dances of savages are accompanied by some kind of monotonous chant, the clapping of hands, the striking of rude instruments: there are measured movements, measured words, and measured tones. The early records of historic races similarly show these three forms of metrical action united in religious festivals. In the Hebrew writings we read that the triumphal ode composed by Moses on the defeat of the Egyptians, was sung to an accompaniment of dancing and timbrels. The Israelites danced and sung "at the inauguration of the golden calf. And as it is generally agreed that this representation of the Deity was borrowed from the mysteries of Apis, it is probable that the dancing was copied from that of the Egyptians on those occasions." Again, in Greece the like relation is everywhere seen: the original type being there, as probably in other cases, a simultaneous chanting and mimetic representation of the life and adventures of the hero or the god. The Spartan dances were accompanied by hymns and songs; and in general the Greeks had "no festivals or religious assemblies but what were accompanied with songs and dances" – both of them being forms of worship used before altars. Among the Romans, too, there were sacred dances: the Salian and Lupercalian being named as of that kind. And even in Christian countries, as at Limoges, in comparatively recent times, the people have danced in the choir in honour of a saint. The incipient separation of these once-united arts from each other and from religion, was early visible in Greece. Probably diverging from dances partly religious, partly warlike, as the Corybantian, came the war-dances proper, of which there were various kinds. Meanwhile Music and Poetry, though still united, came to have an existence separate from Dancing. The primitive Greek poems, religious in subject, were not recited but chanted; and though at first the chant of the poet was accompanied by the dance of the chorus, it ultimately grew into independence. Later still, when the poem had been differentiated into epic and lyric – when it became the custom to sing the lyric and recite the epic – poetry proper was born. As during the same period musical instruments were being multiplied, we may presume that music came to have an existence apart from words. And both of them were beginning to assume other forms besides the religious. Facts having like implications might be cited from the histories of later times and peoples; as the practices of our own early minstrels, who sang to the harp heroic narratives versified by themselves to music of their own composition: thus uniting the now separate offices of poet, composer, vocalist, and instrumentalist. But, without further illustration, the common origin and gradual differentiation of Dancing, Poetry, and Music will be sufficiently manifest.
The advance from the homogeneous to the heterogeneous is displayed not only in the separation of these arts from each other and from religion, but also in the multiplied differentiations which each of them afterwards undergoes. Not to dwell upon the numberless kinds of dancing that have, in course of time, come into use: and not to occupy space in detailing the progress of poetry, as seen in the development of the various forms of metre, of rhyme, and of general organization; let us confine our attention to music as a type of the group. As implied by the customs of still extant barbarous races, the first musical instruments were, without doubt, percussive – sticks, calabashes, tom-toms – and were used simply to mark the time of the dance; and in this constant repetition of the same sound, we see music in its most homogeneous form. The Egyptians had a lyre with three strings. The early lyre of the Greeks had four, constituting their tetrachord. In course of some centuries lyres of seven and eight strings were employed; and, by the expiration of a thousand years, they had advanced to their "great system" of the double octave. Through all which changes there of course arose a greater heterogeneity of melody. Simultaneously there came into use the different modes – Dorian, Ionian, Phrygian, Æolian, and Lydian – answering to our keys; and of these there were ultimately fifteen. As yet, however, there was but little heterogeneity in the time of their music. Instrumental music being at first merely the accompaniment of vocal music, and vocal music being subordinated to words, – the singer being also the poet, chanting his own compositions and making the lengths of his notes agree with the feet of his verses, – there resulted a tiresome uniformity of measure, which, as Dr. Burney says, "no resources of melody could disguise." Lacking the complex rhythm obtained by our equal bars and unequal notes, the only rhythm was that produced by the quantity of the syllables, and was of necessity comparatively monotonous. And further, it maybe observed that the chant thus resulting, being like recitative, was much less clearly differentiated from ordinary speech than is our modern song. Nevertheless, in virtue of the extended range of notes in use, the variety of modes, the occasional variations of time consequent on changes of metre, and the multiplication of instruments, music had, towards the close of Greek civilization, attained to considerable heterogeneity – not indeed as compared with our music, but as compared with that which preceded it. Still, there existed nothing but melody: harmony was unknown. It was not until Christian church-music had reached some development, that music in parts was evolved; and then it came into existence through a very unobtrusive differentiation. Difficult as it may be to conceive a priori how the advance from melody to harmony could take place without a sudden leap, it is none the less true that it did so. The circumstance which prepared the way for it was the employment