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PEŁNY TYTUŁ KSIĄŻKI - ART IN ANCIENT TIMES : PREHISTORIC - EGYPT - GREECE AND ROME
AUTOR - BY JOSEPH PIJOAN
WYDAWNICTWO - UNIVERSITY OF KNOWLEDGE, INCORPORATED, CHICAGO 1940
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THE UNIVERSITY OF KNOWLEDGE
WONDER BOOKS
GLENN FRANK, EDITOR-IN-CHIEF
ART
IN ANC1ENT TIMES
PREH1STORIC—EGYPT—NEAR EAST GREECE AND ROME
BY
JOSEPH PIJOAN
Lecturer on An Unwersity ot Chicago
UNIVERSITY OF KNOWLEDGE, INCORPORATED CHICAGO - 1940

TABLE OF CONTENTS

Introduction Hartlfy Burr Alexander ......... 11
"This Edition" by JosEpfi Pijoan..... .......
Thf Art of PRiMimE Peoples...............
Prehistorio Art in Europę and Afrig .......... 29
The Beginnings of Egyptian Art....... . . 49
Art of the Egyptian Middie Ages .... ... 71
The Art of Imperiał Egpt......... ..... 77
The Close of Pre Ciiristin Ari in Egypt.......... 99
Beginmtsgs of Arf in Mesopotamia............ 105
Bbyloman Art.................... 12^
Tfie Art of Assria................... 131
The Art of the Anciem Persians............. 14?
The Art of the Phoenicians............... 155
Pre-Hellenic Art........ ........... 165
Tiie Art of Erly Greece..... .......... 189
The Archaic Schools 01 Greek Art...... ...... 207
The Age of Płricles and Phidias............. 237
Atheniw Msters of tiie Fourth Century.......... 271
Art in the Hellfmstic Period............... 305
Art of Etruria nd Republican Rome .... ....... 341
The Art of Imperiał Rome................ 355

PIJOAN

"The last of the great Renaissance humanists" is the phrase which instinctively shapes itself upon my lips when I think of Joseph Pijoan. The same indefatigable curiosity, the same eagerly adventurous pursuit of knowl-edge, no matter into what directions the clue may lead, which characterized Erasmus, Morę, da Vinci, the Scaligers, and revealed to our civilization new and unpremised paths into the domains of understanding, mark his career not less than theirs. Like theirs, his charges into the unknown have blazed their ways with flashing sagacities and sudden illuminations where before ałl had been lost or opaque. Modern schołarship (as out of decency we should own) has of late so clogged and suppressed with pedantries and cautions its legitimate intent, that where not lost utterly the main point of its cultivation has been hopelessly befogged—as if a meaning could turn morę upon a datę than upon a man5s genius, or an obituary could represent a mind! Pijoan, although he lives in a modern hour, makes no such mistake of judgment; as directly as the lightning he foliows the paths of elemental energies, and like the lightning the impress he leaves upon his subject is clear, clean, and unforgettable. No one will turn from a book written by Joseph Pijoan without the sense that through its subject has blown the strong breeze of a fresh understanding, galvanizing into life old materials which had been bozing into meaninglessness, or throwing up the new into relationships which give their unseen bearings upon the past of mankind and reveal their unguessed partnerships with the present.
lt is wkh powers of insight such as these that Pijoan approaches thc knotty problems of the history of art and its meaning for the spirit of man-kind. His earlier years were devoted to the study of every phase of h urna a expression in the arts, from the far prehistorie rock pictures of the Canta brian hills on to the majesties of Classic Rome and the stored wealth ot the great European collections. This was followed by a residence in thc America which he has madę his own, though with a breadth rare indeed among Americans, for he has been as quick to grasp the charms and foro.^ of the native Indian decoration as the varied manifestations of our studiu and industrial art. To such direetion of his energies he has added the fur-ther preparation that stands attested by three major works, any one of which could represent the crest of an ordinary life!s activities: first, the Historu del Mundo, in hve volumes, a survey, cinematographic in its brilhanc. which follows the spirit of man through the ages and gives the key theme to every development of human aptitude; second, the History oj An, in three volumes; and third, the still unfinished monumental Sum ma Artis, of which half a score of volumes have already been given to its international public. These are works broadly conceived, having indeed a well-nigh astronomical swing in the ambits of their orbits, although in another sense. they represent no morę than the chart ot the extent of the author5s studies— studies which would make it difficuli to name another who could stand beside him in comparable qualification for the treatment of his theme.
But here the matter that is of moment is not the vastness of Pijoanłs rangę, but the elarity of his perceptions, and hence his gift as a guide. Per-haps the central tenet of his creed of understanding has been his conviction that no art can be effcctively seen except through such eyes of the mind as have themselves looked into the mirror of time and have therein beheld the true refleetion of the minds and manners that have created art. It is the period, says Pijoan, that is disclosed by every significant movement in art, and for the very reason that it is the period that is manifesting its own inward naturę through the art. Not alone a man, but an entire civilization is being revealed in a masterpiece of art, even though, as is most often the case, the artist is but dimly if at all aware of the meaning of his own genius. His place in the world of beauty must be discovered not by himself, but by another who is endowed with a broad perception of the pathways of time as well as with a faculty for seizing the work of the hour in all its present intensities. It is in the ability to see clearly both of these factors, the given work and its meaning for time—so that not only the scenę created by art, but the figures of the men and women behind the scenę who gave both subject and approbation to the creative genius, are perceptible—that the gifts and learning of such a leader as Pijoan count most. The years of preparation fully tell; they bring the learner within the radius of the work that finds its eventual niche in the gallery, and it is alone through such gifts that the gallery can be prevented from becoming a merę morgue of forgotten davs and may put again within the frames and marbles the hum and vigor of active life. Any man who can fulfill for us this office is genuinely a revivifier
of the human spirit, a creator of understandings; and in the high sense in which the calling was held in the mysteries of antiąuity he is himself a seer and a mystic.
For there is one last word that should be spoken of Joseph Pijoan. Like ihose giants of the earlier Renaissance to whom allusion has been madę, he has constantly possessed and shown within himself a happy faculty of pene-trating to the cores of aesthetic truth, not by the labored explorations of glass and lancet, but by a power of intuition which strangely impresses his associates as both sudden and imperative. To mankind there has always appeared something baffling in the matter of genius. Genius in art has held its place among the mysteries, and those who have possessed it have seemed to share with mysties in other fields some halo from above ordinary naturę, something identifying them with another order of space and time than those of the commoner man5s world. So men have judged out of the years, and it is hardly to be thought that what has puzzled so many is to be lightly unravelled. But this being so, it will readily be understood ho w far a really profound comprehension of the meaning of so strange a thing as this genius in art, one that is its peer in imagination and perhaps its master in penetra-tion will have to be called forth to lead less forward minds into the fuli presence of the greatness of art and endow them with the whole wealth of art5s contribution to life. It is with such endowment that Joseph Pijoan undertakes his task.

H. B. Alexander

THIS EDITION

I have for several years resisted all temptadons to publish a new and briefer edition of my Outline oj the History of Art. There was so much to be added and so much to be taken out! To condense the book demanded a complete change of style—you cannot play on the violin musie composed for the cello. Moreover, my time was so much oceupied with Summa Artis, of which eight volumes appeared in nine years, that I was not willing to be lured away to re-form this modest book of my early life, which had been written "over there," in the flush of youth and enthusiasm, without any reference library at hand.
At present, the disturbances in Europę are giving me a respite from the work on Summa Artis, which allows me time for this work. It is not this circumstance alone, however, which has moved me to accept the ofifer to remake my History of Art, but also a strong feeling of dislike for the way art is taught in the schools and presented to the public. I should like in this book to express the indignation I feel at the scholastic dryness with which art is clothed. We, the dead, have the presumption to put the living —the works of art—on the operating table and perform autopsies upon them. We catalogue and label them, and hang them on a genealogical tree —a barren tree—, in a sense perhaps, the tree of Knowledge, but not the tree of Life. Students are not stimulated to further study because they have
been led away from what is vital in art by this dry literalness of teacher and professional critic.
A century ago, the natural sciences had catalogued all living beings; the history of art is still in that stage. A biologist would object to being told that he should be satisfied with morphology, merely the study of forms; for he wishes to study all the processes of birth, growth, and behavior of living things. If comparative anatomy is not sufficient for him, working in the physical world, how much less is it satisfactory for us, dealing with the spiritual. To be surę, cataloguing and recording are the preliminary steps of all disciplines, but we must not stop there. The next step is that of syn-thesis, and the discovery of generał laws.
Unfortunately, there is no elass of people morę lacking in imagination than those who presume to study the creations of the imagination. We. expect a naturalist—a bacteriologist, for instance, like Carrel—to dream in the intermezzo of his research, or a mathematician like Einstein to conceive new worlds of phantasy; but the critic dare not trespass! He has been told that the "Venus of Milo" is a work of the fourth century B.C., but, still skep-tical, he must study further to make surę of it, instead of venturing in imagination into the world she represents.
I am not so averse to being cheated in the transactions of daily life or in purely intellectual realms. If a merchant succeeds in obtaining a price for some object, which is in excess of its value, I can get a certain amount of enjoyment out of his sharpness, and when a sophist argues trickishly, I have a mild feeling of pity for his not facing facts. However, in matters of art, religion, and morals, I cannot accept ersatz, or substitutes, and detest alike the evangelist who makes insincere use of the Gospel to serve his ends and the executive who preaches service to his underlings and takes all that he can get for himself. Still morę do I despise the art critic who examines a masterpiece with a microscopic glass.
Art is my only excuse for living; art is my modus vivendi, not my modus lucrandi. Of all the oceupations of man, it is the one that to the greatest extent justifies his existence. Animals probably feel gratitude for life, and in their way worship and sing praise. Man, however, is the only creature that creates, and in this he is like God. Every work of art is an entirely new creation; the universe is completely remodeled on a canvas.
My plea is that works of art be examined as living things. At least, let us place the masterpieces we want to evaluate in the cultural environments which fostered their creation. A great deal of imagination is needed to reproduce the atmosphere of thought and creed in the midst of which they thrived. To reereate this environment is the first assistance an art critic and scholar "can give to the layman. For the restoration of the setting I oflfer no cheap social philosophy; nor do I wish to torturę the reader with arid sum-maries of geography and political history, such as appear at the beginning of chapters in histories of art.
This book does not entirely satisfy my demands. In the Summa Aitis volumes I went much further, and this will not be my last attempt to pop ularize the new method of appioach to the enjoyment of beauty.
In closing, I have to thank many people for helping me with photo graphs: the directors of the Museums of Boston, Cleveland, Toledo, and the Walters Art Gallenes. So, my tnends, thank you all1 I wish to men tion especially the personal and devoted assjstance of my former student. Professor Lawson Pendleton Cooper, of Riverside Junior College, Califor ma, who came to Chicago to help me m editing the greater part of these volumes To Ella Wheeler Forkert and Miss Janette Hollis for revis ing part of the text and reading proof, many thanks.

New York City, February, 1938.
Joseph Pijoan

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