New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1874-02-16
TIE DAWN OF ART.
PROP CHARLES z. HARTT ON EVOLUTION in oENA


PROP. CHARLES z. HARTT ON EVOLUTION IN oENA-
MENT.
Prof. Charles f. Hartt of Cornell University
delivered lecture at the Cooper Institute Saturday.
ON Evolution IN Ornament" The following II an
abstract
Now that you may know what l am driving AT, let
me say in few words that what shall citempt 10
show tonight will that ornament had beginning, to
she what that beginning to show the reasons for
Its beginning and attempt 10 trace the various steps OF
growth In some OF most common forms OF ornament
shall cOnnne myself chiefly to the Greek fret and some
OF its derivatives. About three years ago. while
on the River Amazon. / had the good fortune to
obtain lot OF ancient Brazilian pottery, and
was surprised to find II ornamented with great
many forms with which 1 already familiar !;
certain which known frcts and one OF them
like the ancient Greek fret The problem was just tins
whether these Brazilian ornaments were derived from
the Greeks whether they bad independent origin
On examination was Ted TO think that they originated
independently, aud l propose TO show how they origin
sted and the various steps of their growth. shall
show that man, when he covers various objects with
lines aud figures oOors for the purpose Of giving him
self pleasure, will the same simple combinations
and that certain forms will become persistent Those
forms which true aud beautiful will last and those
which are not will fall out; that there is certain strug-
gle for existence In ornament law oil the survival OF
/ the most beautiful and fit to please.
In the growth OF savage art we find that their orna
ments made OF straight nnee 1nOse NATIONS more
advanced make circles approaches TO circles or srals
tightly rolled up The Greek fret has ND In this
way AS strait ht line is pleasant 10 the eye, two
straight INES close enough together, are little more
pleasant When this step has been taken, then the
ater ~ is made TO make this form more agreeable by
uuttng something between them. First straghitlnes
are drawn from TO the other making ladder-llke
ornament As the next step, the lines drawn part
way down, frat side, then the other. This
gives a sort of rhythm which pleasing II drawn TO the
center, may he connected 10 the next by "a hOrl
the Greek fret Some genius, in drawing this in hurry
rounded the and thus led to true circular
spiral Then curved line connecting the spirals
seen 10 be so pleasant tnat the artist dwet upon that
and left the greater part Of the SPIRAL and this form
h. found all the world But now great deal OF
filed space left and little triangular ornaments
were placed between the curves with sometimes ttle
dot within IT. tThis little triangle spread into
a variety OF forms, 8s IN China, whore IL
was fashioned into tue shape OF leaf
Thus grew up simply n the attempt please
the by beautiful lines When II grew up that 1t
began TO resemble leaf, leaf substituted for It,
and 50 leaf, fruit, aud animal forms use
some thought the curve meant ocean, but II did
until il found 10 resemble one. Then when some
artist introduced a dolphin, instead OF the triangular
ornament 10 certainly meant ocean. So by
shading, resemblance 70 % vine produced, and
many beautiful forms resulted from thar.
Attic conclusion OF the lecture the hall darkened
and by means OF lantern representations OF ancient
vases and architectural ornanentaton shown
upon screen, YiiA some modern forms irOm Russin
aud other painters.