First Principles

Nor is this the most extreme case. A still more extensive integration is exhibited in every large factory. Here we find a large number of complicated machines, all connected by driving shafts with the same steam-engine—all united with it into one vast apparatus. Contrast the mural decorations of the Egyptians and Assyrians with modern historical paintings, and there becomes manifest a great advance in unity of composition—in the subordination of the parts to the whole. One of these ancient frescoes is in truth made up of a number of pictures that have little mutual dependence. The several figures of which each group consists, show very imperfectly by their attitudes, and not at all by their expressions, the relations in which they stand to each other; the respective groups might be separated with but little loss of meaning; and the centre of chief interest, which should link all parts together, is often inconspicuous. The same trait may be noted in the tapestries of medieval days. Representing perhaps a hunting scene, one of these exhibits men, horses, dogs, beasts, birds, trees, and flowers, miscellaneously dispersed: the living objects being variously occupied, and mostly with no apparent consciousness of each other’s proximity.