the first adjective, and the second substantive art: meaning by adjective art that which grew up unconsciously as an amusement blended with the production of ordinary wares more or less permanent, from a house to a garment-pin ; and by substantive, a piece of craftsmanship whose raison d’ètre was to be a work of art, and which conveyed a definite meaning or story of some kind.
In the civilisation of Greece, which 303 was so vigorous in throwing off barbarism, substantive art progressed very speedily, more or less to the prejudice of adjective art. As Roman despotism dragged the ancient world into staleness the triumphant substantive art withered into lifeless academicism, till it was met by the break-up of classical society. Under the new access of barbarism, art, acted on and reacting by, the remains of the classical life, changed completely. Substantive art almost disappeared and gave place to a fresh development of adjective art, so rich and copious as to throw into the shade entirely the adjective art of the past, and to fill up the void caused by the waning of substantive art. Architecture, complete and elastic to adapt itself to our necessities, was the birth of this period; the blossoming time of which is dated by the name of the Emperor Justinian (c. 520 a.d.) This great adjective art developed into perfection in the early Middle Ages, its zenith being reached at the middle of the thirteenth century. But its progress was marked by the birth and gradual growth of a new substantive art; which, 304 as the architecture of the Middle Ages began to decline, became, if not more expressive, yet at least more complex and more completely substantive till the Middle Ages were on the verge of dissolution. At last came the great change in society marked by the Renaissance enthusiasm and the Reformation: and as the excitement of that period began to pass away, we find adjective art almost gone, and substantive unconscious of any purpose but the display of intellect and dexterity of hand, the old long enduring duality dying out into mere nullity.
The upshot of this, so far as it concerns the solace of necessary occupation is, that while substantive art went on with many vicissitudes,