CHAPTER X. 



SCULPTOE. 



710. The association between architecture, sculpture, 

 and painting is so close that the description of their origins, 

 considered as distinct from one another, is not easy; and 

 those who judge only from the relations under which they 

 are found in the remains of early civilizations are apt to bo 

 misled. Thus Rawlinson remarks that 



&quot;Sculpture in Egypt was almost entirely architectonic, and was 

 intended simply, or at any rate mainly, for architectural embellish 

 ment. . . . The statues of the gods had their proper place in shrines 

 prepared for them. . . . Even the private statues of individuals were 

 intended for ornaments of tombs.&quot; 



Here the implication appears to be that as, in historic Egypt, 

 sculpture existed in subordination to architecture, it thus 

 existed from the beginning. This is a mistake. There is 

 abundant reason to conclude that everywhere sculpture, 

 under the form of carving in wood, preceded architecture, 

 and that the tomb and the temple were subsequent to the 

 image. 



In the first volume of this work ( 154 158) evidence 

 of various kinds, supplied by various peoples, w r as give;i 

 proving that in its initial form an idol is a representation 

 of a dead man, conceived as constantly or occasionally in 

 habited by his ghost, to whom are made offerings, prayers 

 for aid, and propitiatory ceremonies. Confusion arising in 



the uncritical mind of the savage between the qualities of 



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