320 PROFESSIONAL INSTITUTIONS. 



over the altar, which in its developed form became the 

 temple, was also a priestly act. When the priest, ceasing to 

 be himself the executant, directed the artificers, he contin 

 ued to be the designer; and when he ceased to be the actual 

 designer, the master-builder or architect thereafter contin 

 ued to fulfil his general directions. And then the temple 

 and the palace in sundry early societies, being at once the 

 residence of the apotheosized ruler and the living ruler (even 

 now a palace usually contains a small temple) and being the 

 first kinds of developed architecture, eventually gave origin 

 to secular architecture. 



A rude carved or modelled image of a man placed on his 

 grave, gave origin to the sculptured representation of a god 

 inclosed in his temple. A product of priestly skill at the 

 outset, it continued in some cases to be such among early 

 civilized peoples ; and always thereafter, when executed by 

 an artisan, conformed to priestly direction. Extending pre 

 sently to the representation of other than divine and semi- 

 divine personages, it eventually thus passed into its secular 

 ized form. 



So was it with painting. At first used to complete the 

 carved representation of the revered or worshiped person 

 age, and being otherwise in some tribes used by the priest 

 and his aids for exhibiting the tribal hero s deeds, it long 

 remained subservient to religion, either for the colouring 

 of statues (as it does still in Roman Catholic images of saints, 

 &c.), or for the decoration of temples, or for the portraiture 

 of deceased persons on sarcophagi and stelae; and when it 

 gained independence it was long employed almost wholly 

 for the rendering of sacred scenes: its eventual seculariza 

 tion being accompanied by its subdivision into a variety of 

 kinds and of the executant artists into correlative groups. 



Thus the process of professional evolution betrays 

 throughout the same traits. In stages like that described 

 by Hue as still existing among the Tibetans, where &quot;the 

 Lama is not merely a priest ; he is the painter, poet, sculptor, 



