132 A History of Art in Ancient Egypt. large a part in his affections long before the poets of India sang their praise. In fashioning slender shafts which had little weight to support, the artist could give the reins to his fancy, he could mould his metal plates or his precious timber into the semblance of any natural form that pleased his eye, and the types thus created would, of course, be present in the minds of the first architects who attempted to decorate rock-cut tombs or temples and constructed buildings. We affirm, again, however, that neither the stone column of the Egyptians, nor that of the Greeks, in its most complete and dignified form, resulted from the servile imitation, nor even from the intelligent interpretation of living nature. The column was an abstract creation of plastic genius. Its forms were determined by the natural properties of the material employed, by structural necessities, and by a desire for beauty of proportion. Different peoples have had different ideas as to what constitutes this beauty ; they have had their secret instincts and individual preferences. The artist, too, who wishes to ornament a column, is sure to borrow m.otives from any particular form of art or industry in which the race to which he belongs may have earned distinction In some cases, therefore, his work may resemble carved wood, in others chased or beaten metal. He will also be influenced, to some extent, by the features and characteristic forms of the plants and animals peculiar to his country. But wherever a race is endowed with a true instinct for art, its archi- tects will succeed in creating for stone architecture an appropriate style of its own. The exigencies of the material differ from those of metal or wood. Its unbending rigidity places a great gulf between it and the elasticity and perpetual mobility which characterize organic life. The Egyptian architects saw from the first that this difference, or rather contrast, would have to be reckoned with. They understood perfectly well that the shaft which was to support a massive roof of stone must not be a copy of those slender stems of lotus or papyrus which bend before the wind, or float upon the lazy waters of the canals. The phrase cohimn-plant or plant-colunin, which has sometimes been used in connection with the columns of Luxor and Karnak, is a contradiction in terms. But why should we dwell upon these questions of origin ? In the history of art, as in that of language, they are nearly always
