5. Expression.
α. Symmetry has already been amply treated.
β. Eurythmy is either stereometric or planimetric. It is stereometric in balls and in regular solid bodies, such as the tetrahedron, a figure of four equal triangular faces, or the polyhedron, a figure with many sides. These forms are symmetrical without any controlling element. Such an element shows itself first in the ellipsoid—distinct from the oval—in the prism, and the pyramid. Planimetric eurythmy preponderates in snow-crystals, flowers, plants, trees, and the lowest animals.
The controlling element shows itself in the grouping of the single parts round a common centre, which is often distinguished by a contrast in forms or colours. It is unconsciously expressed by a sign or mark.
Ornamentation takes its origin in the effort to express, to designate, or to mark out the controlling element. The ornamented object has only then a meaning, when it expresses visibly the hidden idea of the controlling element, say the idea of fastening or keeping together, as in clasps, brooches, buckles; or the idea of equilibrium, as in earrings. Such signs or marks were very early used, and are spread all over our globe; they developed into the rough tombs in Phrygia, Greece and Italy; took a higher form in Central America and Assyria; became crystallised in the Pyramids; and attained the highest perfection in the tombs of Mausolus, Augustus, and Hadrian. The mark or sign is also used in games, as on race-courses, in the stadium, the circus, or the amphitheatre. A more distinct expression is gained when the mark or sign, as divine statue, altar, &c., is surrounded by rhythmically-arranged circles or encompassing walls, as the visible expression of the union of the many, or variety, for one religious or ceremonial purpose. The mark or sign reflects, on the one hand, the idea of harmony, whilst, on the other, the rhythmically-arranged surroundings form an impressive total, heightening the force of the controlling element. This law explains the awe, veneration, mysterious feeling, and secret fear with which men at all times have looked upon the central mark or sign, whether in the simple stone-circles of Abury, Stonehenge, and Carnac, the rock-hewn temples of India, the temples of Egypt, Greece, and Rome, or the synagogues and churches of our own times.
Next to the controlling element, we must take into consideration the grouping of the whole object on a horizontal basis around a vertical axis. This axis becomes the seat of the linear, symmetrical, controlling element. It is especially marked by richly ornamented reliefs or by gaudier colours, so pronounced that the other parts of the ornamented object appear as mere accompaniments of the horizontal and vertical lines. Remarkable in their incongruity, but often unsurpassed in the application of this principle, are the tattooed heads of savages, in which the linear central line is ornamented symmetrically on both sides of the face—the prominent parts being marked by spirals to make them appear still more prominent.
γ. Proportion, as an element of art, cannot work by itself, but must be considered in relation to its parts and the controlling element. Proportion consists of a basis, a middle piece, and a dominant. To illustrate this, we have in plants and trees, the root (basis), the stem or trunk (middle piece), and the top, crown or flower (dominant).
The basis represents the cosmical element of gravitation by powerful masses, simplicity of forms, and dark colouring. This law was especially observed in the excellent decoration of the Roman houses at Pompeii, and is still followed in our wainscoting. We try unconsciously to express the static force from which the dynamic rises.
The middle piece, growing out of the basis, is supported and supporting; it unites the elements of the basis with the top or dominant; it is the connecting link between these two extremes. The basis stands in the same relation to the middle piece, as the latter to the dominant.
The dominant harmoniously reconciles the conflicting forces of striving upwards, and being drawn downwards. Variations in these relations are not only allowable, but form the very element of the artist’s creative originality—so long as he clearly marks the purpose of the three elements.
δ. Direction, or motion, in its highest form is only to be found in man. In fishes the axis, or seat of the controlling element, is not fixed as in plants. If fishes pursue some point of attraction, they shoot forward in a straight line, so that a conflict between the static and dynamic forces is never visible in them, because the axes of these two forces are always one and the same. This is entirely different with birds, quadrupeds, and especially with men, who, to a great extent, are masters of their motions; for will, as the force of their conscious intellect, changes their static as well as their dynamic direction.
Man is the symbol of earthly perfection. In him all laws and elements of the universe are united. What is with inanimate nature a static point of attraction, is with man moral; the dynamic force of activity, is with him intellect. Animals also work, but their works are in general the result of their instinct; whilst with man, though he may also be ruled by unconscious impulses, intellect—self-conscious intellect—is the mainspring of all his actions. These have a reflecting mirror in the glance of his eyes, whilst the changing and changeable effects of scorn, love, wrath, delight, happiness, or despair are pictured in the mysteriously-woven lineaments of his countenance.
ε. Expression, of intellectual and moral impressions, is most concentrated in MAN.
CHAPTER II.
ETHNOLOGY IN ITS BEARING ON ART.
Man is placed on this globe as a radius—a detached radius. The axis of his body is part of the diameter of the earth, and divides him into symmetrical halves. A line, that passes at an equal distance through the double organs, also divides the single ones into two equally-arranged portions. We possess two eyes, to receive the impression of light; two ears, to be touched simultaneously by the waves of sound; two tubes are opened, to receive the refined, imponderable bodies producing odour; the lips are grouped round a marked central line to the chin. We have two shoulders, two arms, two hands, two legs, two feet; both hands have the same number of fingers, and both feet the same number of toes. On the other hand, the parts, taken by themselves, break through all the laws of symmetrical uniformity. The arms are longer than the trunk; the legs are longer than the arms; hands end in unequally-subdivided fingers; feet in similarly-treated toes. But notwithstanding this want of symmetry there is perfect harmony in the relations of the parts to the whole, so that man may be said to be the very master-piece of creation. In considering the controlling linear elements, in the three grand groups into which humanity may be best divided for a comprehensive study of art, we find that the very fundamental facial lines differ.
I.
We have first the Negro, the fossil, the black, or antediluvian man. The eyes, nostrils, and lips are drawn downwards in melancholy lines. He is cross-toothed (prognathous), triangular-headed, has flat feet, long heels, an imperfect pelvis, but a very powerful digestive organ, and a correspondingly enormous mouth.
The Oceanic Negro is the best example of this group. He is slow of temperament, unskilled, his mechanical ingenuity being that of a child; he never goes beyond geometrical ornamentation; builds tumuli or triangular wigwams; lives on what he finds by chance, and, at the best, hunts or fishes. His reasoning faculty is very limited, his imagination slow, but his perceptive faculties (the senses) are highly developed. He is altogether incapable of rising from a fact to a principle. He cannot create beauty, for he is indifferent to any ideal conception. He possesses only from 75–83½ cubic inches of brain, his facial angle being about 85½ degrees. This lowest group of mankind branches off into different types. The general features of the group have neither changed nor improved. The Negro is still the woolly-headed, animal-faced being, represented on the tombs of the Pharaohs, because his bodily structure, his facial lines have not altered during