Front Page Titles (by Subject) SECTION VII.: Of the History of Arts. - An Essay on the History of Civil Society
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SECTION VII.: Of the History of Arts. - Adam Ferguson, An Essay on the History of Civil Society 
An Essay on the History of Civil Society, 5th ed. (London: T. Cadell, 1782).
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Of the History of Arts.
WE have already observed, that art is natural to man; and that the skill he acquires after many ages of practice, is only the improvement of a talent he possessed at the first. Vitruvius finds the rudiments of architecture in the form of a Scythian cottage. The armourer may find the first productions of his calling in the sling and the bow; and the shipwright of his in the canoe of the savage. Even the historian and the poet may find the original essays of their arts in the tale, and the song, which celebrate the wars, the loves, and the adventures of men in their rudest condition.
Destined to cultivate his own nature, or to mend his situation, man finds a continual subject of attention, ingenuity, and labour. Even where he does not propose any personal improvement, his faculties are strengthened by those very exercises in which he seems to forget himself: His reason and his affections are thus profitably engaged in the affairs of society; his invention and his skill are exercised in procuring his accommodations and his food; his particular pursuits are prescribed to him by circumstances of the age, and of the country in which he lives: In one situation, he is occupied with wars and political deliberations; in another, with the care of his interest, of his personal ease, or conveniency. He suits his means to the ends he has in view; and, by multiplying contrivances, proceeds, by degrees, to the perfection of his arts. In every step of his progress, if his skill be increased, his desire must likewise have time to extend: And it would be as vain to suggest a contrivance of which he slighted the use, as it would be to tell him of blessings which he could not command.
Ages are generally supposed to have borrowed from those who went before them, and nations to have received their portion of learning or of art from abroad. The Romans are thought to have learned from the Greeks, and the moderns of Europe from both. From a few examples of this sort, we learn to consider every science or art as derived, and admit of nothing original in the practice or manners of any people. The Greek was a copy of the Egyptian, and even the Egyptian was an imitator, though we have lost sight of the model on which he was formed.
It is known, that men improve by example and intercourse; but in the case of nations, whose members excite and direct each other, why seek from abroad the origin of arts, of which every society, having the principles in itself, only requires a favourable occasion to bring them to light? When such occasion presents itself to any people they generally seize it; and while it continues, they improve the inventions to which it gave rise among themselves, or they willingly copy from others: But they never employ their own invention, nor look abroad, for instruction on subjects that do not lie in the way of their common pursuits; they never adopt a refinement of which they have not discovered the use.
Inventions, we frequently observe, are accidental; but it is probable, that an accident which escapes the artist in one age, may be seized by one who succeeds him, and who is better apprized of its use. Where circumstances are favourable, and where a people is intent on the objects of any art, every invention is preserved, by being brought into general practice; every model is studied, and every accident is turned to account. If nations actually borrow from their neighbours, they probably borrow only what they are nearly in a condition to have invented themselves.
Any singular practice of one country, therefore, is seldom transferred to another, till the way be prepared by the introduction of similar circumstances. Hence our frequent complaints of the dulness or obstinacy of mankind, and of the dilatory communication of arts from one place to another. While the Romans adopted the arts of Greece, the Thracians and Illyrians continued to behold them with indifference. Those arts were, during one period, confined to the Greek colonies, and during another, to the Roman. Even where they were spread by a visible intercourse, they were still received by independent nations with the slowness of invention. They made a progress not more rapid at Rome than they had done at Athens; and they passed to the extremities of the Roman empire, only in company with new colonies, and joined to Italian policy.
The modern race, who came abroad to the possession of cultivated provinces, retained the arts they had practised at home: the new master hunted the boar, or pastured his herds, where he might have raised a plentiful harvest: he built a cottage in the view of a palace: he buried, in one common ruin, the edifices, sculptures, paintings, and libraries, of the former inhabitant: he made a settlement upon a plan of his own, and opened anew the source of inventions, without perceiving from a distance to what length their progress might lead his posterity. The cottage of the present race, like that of the former, by degrees enlarged its dimensions; public buildings acquired a magnificence in a new taste. Even this taste came, in a course of ages, to be exploded, and the people of Europe recurred to the models which their fathers destroyed, and wept over the ruins which they could not restore.
The literary remains of antiquity were studied and imitated, only after the original genius of modern nations had broke forth: the rude efforts of poetry in Italy and Provence, resembled those of the Greeks and the ancient Romans. How far the merits of our works might, without the aid of their models, have risen by successive improvements, or whether we have gained more by imitation than we have lost by quitting our native system of thinking, and our vein of fable, must be left to conjecture. We are certainly indebted to them for the materials, as well as the form of many of our compositions; and without their example, the strain of our literature, together with that of our manners and policy, would have been different from what they at present are. This much, however, may be said with assurance, that although the Roman and the modern literature savour alike of the Greek original, yet mankind, in either instance, would not have drank of this fountain, unless they had been hastening to open springs of their own.
Sentiment and fancy, the use of the hand or the head, are not inventions of particular men; and the flourishing of arts that depend on them, are, in the case of any people, a proof rather of political felicity at home, than of any instruction received from abroad, or of any natural superiority in point of industry or talents.
When the attentions of men are turned toward particular subjects, when the acquisitions of one age are left entire to the next, when every individual is protected in his place, and left to pursue the suggestion of his wants, inventions accumulate; and it is difficult to find the original of any art. The steps which lead to perfection are many; and we are at a loss on whom to bestow the greatest share of our praise; on the first, or on the last, who may have borne a part in the progress.