This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 Excerpt: ...as to those ideals of bodily form which sculptors and painters set before z us, we have but to imagine, as a consequence of wiser living, a steady physical improvement during Nature's great spaces of time for such ideals to be equalled in living men. The main difference, then, between a scientific and a pre-scientific ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 Excerpt: ...as to those ideals of bodily form which sculptors and painters set before z us, we have but to imagine, as a consequence of wiser living, a steady physical improvement during Nature's great spaces of time for such ideals to be equalled in living men. The main difference, then, between a scientific and a pre-scientific age is likely to be that, whilst the pre-scientific mind looked to the past for its ideals, or imagined them as belonging to the past, a scientific age will look to the future and have the inspiration of hope rather than that of a frequently delusive retrospect. Or, if the artists of the future look to the past, still it will be in the purely poetical spirit which in our own day has led the most famous poets of the age to choose their subjects in antique or mediaeval history or legend. In short, there is but little reason to apprehend that the Darwinian account of the Descent of Man, however generally accepted, can have much practical effect upon the fine arts, which will naturally try to embody some kind of ideal, whether it be suggested by a poetical interest in the legendary past or by a scientific hope for the illimitable future. CHAPTER II THE ALLIANCE BETWEEN ART AND ARCHAEOLOGY THESE two pursuits are in their nature entirely distinct. It is possible to be a great artist without knowing anything accurately about the past, and we have evidence in the life and work of many contemporaries that a high degree of archaeological learning is compatible, not only with practical incapacity in art, but even with a complete want of critical understanding of the artistic aspects of things, so that the archaeologist may be as remote, in reality, from art as if he were a civil engineer, though he frequently concerns himself with architecture, sculpture...
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