The prison mirror. [volume] (Stillwater, Minn.) 1887-1894, 1893-07-13
ORIGIN OF GREEK ARCHITECTURE
(RepOrt for Glass by L. OPP

(RepOrt for Glass by L. o. P.)
There has been q tendency in this last decade
TO find in Egypt the center from which the rudi-
mentary arts of civilized life were distributed to
surrounding nations.
1t arises, l think in part from the latent desire
in the human race, to assign remote and COM
mon origin to all things; also in part. from the
efforts of the historian to prove that the culture
and refinement of society, as it exists to-day, has
been gradual unfolding of the human mind
from prehistoric man to the present age. Both
ideas contain germ of truth, for all the arts had
a common origin, the human mind, the develop
ment of which, while not continuous, is ever
rising and falling; yet through the varying con-
ditOnS of race, and time and place, its mean re-
mains essentially the same. SO as you follow me
to-day, would have you keep that idea before
you, to indicate the line of reasoning followed by
me. The assertion has been frequently made,
by members of this circle. that the Greeks drew
their architectural inspirations from the Egypt
ans, and other nations around them The basis
for these statements rests upon our text book
and other histories relate the same, but only as
theory, mark you, not as fact. l, also, have read
to the same effect, and having carefully thought
over the question raised, have concluded that
the theory, while plausible one, has too slight
foundation to rest upon, and that it seems con-
trary to sound reasoning. AS near as 1 can
learn, the theory rests upon the similarity ex-
listing between an Egyptian column, named by
FurgusOn the PrOto-Doric," and that of the
Greek Doric order. From this foundation has
been elaborated those firmly drawn and appar-
emily logical theories, by which their writer's
show their willingness to give more than fair
share of credit to the land of the "lOtus eaters'
CHANGING at the principle features of Egyptian
architecture we find no point of resemblance,
their columns are massive and irregular in out
line and proportion. Accuracy is an unknown
quantity. Beauty, an Egyptian dream, never
realized. Their capitals lack the delicate and
finished touch so characteristic of Grecian Or
ders, and rest fitting crown, to work ungrace-
fully and dispropOrtiOnately constructed. Can
we compare such rude work to the finely pro-
pOrtioned and symmetrically finished work of
the Greeks? Compare beauty delicacy and
harmony, light and airy gracefulness in short,
can we compare work of genius to that medic
Gritty, as we'll compare the work of an Angelo,
or a Wren, with the unskilled handiwOrk of the
backwOods pioneer? Concluding then it seems
more reasonable to suppose that when we see
two or more architectural forms, almost indenti-
cal in composition and construction, that their
origin was due to similar IDEAS generated by the
human mind and modified by the needs and
conditions of life, than to any remote connection
between the two. If not, then ask you to point
out to me the origin of the dome-like kraal of
the Zuu the similar home of the Esquimaux
and the marble mosque of the Arab, found as
these are, on the three great continents of the
world?
Method will teach YOU to win in time. -