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From, R. Blomfield, Architecture,
in R.W. Livingstone (ed.), The Legacy of Greece, Oxford University Press, 1921.
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Page 16
Modern conditions seem to be wholly against the Greek standpoint in art. The Arts are in the melting-pot, the old standards of attainment are trampled under foot, and the prophets prophesy falsely. Quite lately we were asked to find our inspiration in the fetishes of the Gold Coast, and if the aim of the artist is to outstrip his brethren in brutality, the advice is sound. A recent critic justified the antics of certain artists by the necessity they were under of advertising themselves. That, no doubt, is the readiest way to immediate success. But the question for the critic is, not the personal advancement of the artist but the value of his work; and one would ask if any good work at any period in the history of art has been inspired by this ambition to shout louder than one's neighbours. Certainly, the standpoint of the Greek was the exact opposite. He did not seek advertisement and notoriety. He was happy with his inner vision of beauty, and intent only on its realization. He had not the smallest desire to shock or startle any one. There are occasions when shock tactics are necessary, but they are not necessary every day in the week, nor is it necessary to make a clean sweep of the past before one sets to work in one's own little corner of art.
What is wanted in modern art is some consciousness of this old Greek spirit, some recognition of its value. The Greeks of the age of Pericles wanted neither revivalism nor revolution; they moved forward, without haste or anxiety, on traditional lines, and they were able to do so because their art was so interwoven with their life that, in the plastic arts, they could no more have changed their methods of expression than they could have changed their manner of speech. That high outlook on life is lost and hardly to be recovered under modern conditions of social life and political government. It was perhaps only possible under the true democracy of the small Greek city state, when every citizen took his share in the ordered life of the community. Yet the Greek ideal remains. In our fitful fever of honest intention and wrong judgement, high endeavour and point-blank commercialism, Greek art, the art of Pheidias and Ictinus, is still the wise mother to whom we must return. The lesson of the Parthenon is the lesson of a steadfast vision of beauty, held high above individual effort and failure, realizing itself not in complex detail or calculated eccentricity, but in a serene and exquisite simplicity of form. It teaches us that in the arts there are no short cuts, and that anarchy, the destruction of what has been won for us in the past, is not advance but the straight road to the bottomless pit of barbarism. Instead of repudiating the work of his fathers, the Greek carried it on to its perfection, and built his palace of art on a sure foundation because he turned neither to the right hand nor to the left, but steadily set his face towards the light.
Cf. A History of Ancient Greek Art * Greek Literature * Greek History Resources
A History of Ancient Greece * Plato Home Page
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Reference address : https://ellopos.net/elpenor/greek-texts/ancient-greece/blomfield-greek-architecture.asp?pg=16
