Illustrations of Universal Progress: A Series of Discussions. Spencer Herbert
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may be grouped into families having a common ancestry. An aboriginal name applied indiscriminately to each of an extensive and ill-defined class of things or actions, presently undergoes modifications by which the chief divisions of the class are expressed. These several names springing from the primitive root, themselves become the parents of other names still further modified. And by the aid of those systematic modes which presently arise, of making derivations and forming compound terms expressing still smaller distinctions, there is finally developed a tribe of words so heterogeneous in sound and meaning, that to the uninitiated it seems incredible that they should have had a common origin. Meanwhile from other roots there are being evolved other such tribes, until there results a language of some sixty thousand or more unlike words, signifying as many unlike objects, qualities, acts.
Yet another way in which language in general advances from the homogeneous to the heterogeneous, is in the multiplication of languages. Whether as Max Müller and Bunsen think, all languages have grown from one stock, or whether, as some philologists say, they have grown from two or more stocks, it is clear that since large families of languages, as the Indo-European, are of one parentage, they have become distinct through a process of continuous divergence. The same diffusion over the Earth's surface which has led to the differentiation of the race, has simultaneously led to a differentiation of their speech: a truth which we see further illustrated in each nation by the peculiarities of dialect found in several districts. Thus the progress of Language conforms to the general law, alike in the evolution of languages, in the evolution of families of words, and in the evolution of parts of speech.
On passing from spoken to written language, we come upon several classes of facts, all having similar implications. Written language is connate with Painting and Sculpture; and at first all three are appendages of Architecture, and have a direct connection with the primary form of all Government—the theocratic. Merely noting by the way the fact that sundry wild races, as for example the Australians and the tribes of South Africa, are given to depicting personages and events upon the walls of caves, which are probably regarded as sacred places, let us pass to the case of the Egyptians. Among them, as also among the Assyrians, we find mural paintings used to decorate the temple of the god and the palace of the king (which were, indeed, originally identical); and as such they were governmental appliances in the same sense that state-pageants and religious feasts were. Further, they were governmental appliances in virtue of representing the worship of the god, the triumphs of the god-king, the submission of his subjects, and the punishment of the rebellious. And yet again they were governmental, as being the products of an art reverenced by the people as a sacred mystery. From the habitual use of this pictorial representation there naturally grew up the but slightly-modified practice of picture-writing—a practice which was found still extant among the Mexicans at the time they were discovered. By abbreviations analogous to those still going on in our own written and spoken language, the most familiar of these pictured figures were successively simplified; and ultimately there grew up a system of symbols, most of which had but a distant resemblance to the things for which they stood. The inference that the hieroglyphics of the Egyptians were thus produced, is confirmed by the fact that the picture-writing of the Mexicans was found to have given birth to a like family of ideographic forms; and, among them, as among the Egyptians, these had been partially differentiated into the kuriological or imitative, and the tropical or symbolic: which were, however, used together in the same record. In Egypt, written language underwent a further differentiation: whence resulted the hieratic and the epistolographic or enchorial: both of which are derived from the original hieroglyphic. At the same time we find that for the expression of proper names which could not be otherwise conveyed, phonetic symbols were employed; and though it is alleged that the Egyptians never actually achieved complete alphabetic writing, yet it can scarcely be doubted that these phonetic symbols occasionally used in aid of their ideographic ones, were the germs out of which alphabetic writing grew. Once having become separate from hieroglyphics, alphabetic writing itself underwent numerous differentiations—multiplied alphabets were produced; between most of which, however, more or less connection can still be traced. And in each civilized nation there has now grown up, for the representation of one set of sounds, several sets of written signs used for distinct purposes. Finally, through a yet more important differentiation came printing; which, uniform in kind as it was at first, has since become multiform.
While written language was passing through its earlier stages of development, the mural decoration which formed its root was being differentiated into Painting and Sculpture. The gods, kings, men, and animals represented, were originally marked by indented outlines and coloured. In most cases these outlines were of such depth, and the object they circumscribed so far rounded and marked out in its leading parts, as to form a species of work intermediate between intaglio and bas-relief. In other cases we see an advance upon this: the raised spaces between the figures being chiselled off, and the figures themselves appropriately tinted, a painted bas-relief was produced. The restored Assyrian architecture at Sydenham exhibits this style of art carried to greater perfection—the persons and things represented, though still barbarously coloured, are carved out with more truth and in greater detail: and in the winged lions and bulls used for the angles of gateways, we may see a considerable advance towards a completely sculptured figure; which, nevertheless, is still coloured, and still forms part of the building. But while in Assyria the production of a statue proper seems to have been little, if at all, attempted, we may trace in Egyptian art the gradual separation of the sculptured figure from the wall. A walk through the collection in the British Museum will clearly show this; while it will at the same time afford an opportunity of observing the evident traces which the independent statues bear of their derivation from bas-relief: seeing that nearly all of them not only display that union of the limbs with the body which is the characteristic of bas-relief, but have the back of the statue united from head to foot with a block which stands in place of the original wall. Greece repeated the leading stages of this progress. As in Egypt and Assyria, these twin arts were at first united with each other and with their parent, Architecture, and were the aids of Religion and Government. On the friezes of Greek temples, we see coloured bas-reliefs representing sacrifices, battles, processions, games—all in some sort religious. On the pediments we see painted sculptures more or less united with the tympanum, and having for subjects the triumphs of gods or heroes. Even when we come to statues that are definitely separated from the buildings to which they pertain, we still find them coloured; and only in the later periods of Greek civilization does the differentiation of sculpture from painting appear to have become complete.
In Christian art we may clearly trace a parallel re-genesis. All early paintings and sculptures throughout Europe were religious in subject—represented Christs, crucifixions, virgins, holy families, apostles, saints. They formed integral parts of church architecture, and were among the means of exciting worship; as in Roman Catholic countries they still are. Moreover, the early sculptures of Christ on the cross, of virgins, of saints, were coloured: and it needs but to call to mind the painted madonnas and crucifixes still abundant in continental churches and highways, to perceive the significant fact that painting and sculpture continue in closest connection with each other where they continue in closest connection with their parent. Even when Christian sculpture was pretty clearly differentiated from painting, it was still religious and governmental in its subjects—was used for tombs in churches and statues of kings: while, at the same time, painting, where not purely ecclesiastical, was applied to the decoration of palaces, and besides representing royal personages, was almost wholly devoted to sacred legends. Only in quite recent times have painting and sculpture become entirely secular arts. Only within these few centuries has painting been divided into historical, landscape, marine, architectural, genre, animal, still-life, &c., and sculpture grown heterogeneous in respect of the variety of real and ideal subjects with which it occupies itself.
Strange as it seems then, we find it no less true, that all forms of written language, of painting, and of sculpture, have a common root in the politico-religious decorations of ancient temples and palaces. Little resemblance as they now have, the bust that stands on the console, the landscape that hangs against the wall, and the copy of the Times lying upon the table, are remotely akin; not only in nature, but by extraction. The brazen face of the knocker which the postman has just lifted, is related not only to the woodcuts of the Illustrated London News which he is delivering, but to the characters