eyes and mind. Now all the early sculpture of the
most accomplished nations has been thus coloured, rudely or finely; and,
therefore, you see at once how necessary it is that we should keep the
term "graphic" for imitative art generally; since no separation can at
first be made between carving and painting, with reference to the mental
powers exerted in, or addressed by, them. In the earliest known art of
the world, a reindeer hunt may be scratched in outline on the flat side
of a clean-picked bone, and a reindeer's head carved out of the end of
it; both these are flint-knife work, and, strictly speaking, sculpture:
but the scratched outline is the beginning of drawing, and the carved
head of sculpture proper. When the spaces enclosed by the scratched
outline are filled with colour, the colouring soon becomes a principal
means of effect; so that, in the engraving of an Egyptian-colour
bas-relief (S. 101), Rosellini has been content to miss the outlining
incisions altogether, and represent it as a painting only. Its proper
definition is, "painting accented by sculpture;" on the other hand, in
solid coloured statues,--Dresden china figures, for example,--we have
pretty sculpture accented by painting; the mental purpose in both kinds
of art being to obtain the utmost degree of realization possible, and
the ocular impression being the same, whether the delineation is
obtained by engraving or painting. For, as I pointed out to you in my
fifth lecture, everything is seen by the eye as patches of colour, and
of colour only; a fact which the Greeks knew well; so that when it
becomes a question in the dialogue of Minos, "[Greek: tini onti te opsei
horatai ta hoomena]," the answer is "[Greek: aisthesei taute te dia ton
ophthalmon deloise hemin ta chromata]."--"What kind of power is the
sight with which we see things? It is that sense which, through the
eyes, can reveal _colours_ to us."

33. And now observe that while the graphic arts begin in the mere
mimetic effort, they proceed, as they obtain more perfect realization,
to act under the influence of a stronger and higher instinct. They begin
by scratching the reindeer, the most interesting object of sight. But
presently, as the human creature rises in scale of intellect, it
proceeds to scratch, not the most interesting object of sight only, but
the most interesting object of imagination; not the reindeer, but the
Maker and Giver of the reindeer. And the second great condition f