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had changed all the names of the family of Nell to "Täll." There is, therefore, no record even of persons to whom this myth might attach itself. The popular poetical form of the legend is due to Schiller, while it was embalmed in history in the elegant prose of Johann von Müller, but both draw their materials from Tschudi. A demonstration of the late appearance of the tale and the visible growth of its particulars is sufficient to disprove its connection with Swiss history, but, furthermore, the real documents of the thirteenth century are not only unconscious of the Tell episode, but exhibit the formation of a confederation by a far different process.

The stories of St. Ursula and William Tell illus- The uses of Tradition. trate very clearly the constructive process of tradition-making when the matter appeals to popular sentiment. The expansion was not due to more recently discovered facts, but to the desire for more detail and more explanation. In the one case pious deception came in at intervals to stimulate devotion and served to accelerate the growth of details. In the other, patriotism and admiration of heroism called out deviations from the first anecdote. One might say that internal criticism had no part in this investigation, since the external facts about either tradition show no connection with an original episode. On that ground one should throw the whole matter overboard as containing nothing of historical value. That procedure, however, would deprive us of numerous significant conclusions. The fact that this world-legend was cur

rent in Switzerland in the fourteenth century is of itself a matter of culture interest. The fact that the tale was believed for nearly four centuries by the Swiss people is of the most profound significance in their history. As a patriotic influence and an example of heroism and devotion, William Tell was just as powerful as if he had been true. In the eighteenth century a preacher who in an unguarded moment spoke of Tell as a Danish fable was nearly burned at the stake. In the face of a half century of modern criticism a book was written as late as 1895 to prove the truth of the legend. The future will determine whether Tell is to be as powerful as a parable as he was as a belief. In short, it must be said that even the forgeries, which are so repellant in the annals and documents, must be weighed in order to determine the time and extent of their influence. In many cases they confirmed the rights of property or guided public conduct for generations at a time.

CHAPTER XIV

PICTORIAL SOURCES OF HISTORY

PAINTING and sculpture serve as historical material, first, as evidence of the condition of art at the time of their production, and second, as records or reports of the events depicted. When the picture sets forth an historical episode there must be inquiry, as in the case of the chronicle, as to the personality of the artist, if he is discoverable, and as to whether he was in a position to be well informed. If the work is anonymous the date or period ought to be determined for the same reason. As compared with written matter the picture has limited scope for the reproduction of history. The artist can show but a single instant of time, a partial view of a single episode, while the writer can in a page bring before the imagination a moving series of pictures which give the current connection of events. At its best, therefore, as a means of conveying a continued story, the painting is only supplementary. It is far more serviceable in depicting customs, manners, and institutions.

The illustrated Anglo-Saxon Calendar gives valuable information about the agricultural processes, the sports, and the pastimes of that period. The ancient Greek vases are not only beautiful in form,

The Bayeux
Tapestry.

Egyptian Pictures.

but constitute a lexicon of archæology respecting costumes, worship, the rites of marriage and of burial, as well as mythology in general. The drawings both confirm and supplement the written descriptions, but vases and ornaments must usually be classed with unconscious relics.

One of the most elaborate attempts to depict a series of historical events is found in the Bayeux Tapestry. This is a strip of linen two hundred feet long and twenty inches wide, embroidered with fifty-eight scenes from the Norman conquest of England. This is clearly contemporary. The art is crude, but the information is valuable. The embroidered figures must be accepted as conventional, but the order of events, for example, is shown by the order of the scenes. The weapons and armor of the Normans and the English are distinguishable and the attitudes of the parties in victory or defeat give clearly a Norman account of the struggle. This is seen also in the choice of scenes, by which it is made to appear that Harold is punished for religious reasons, as a profane and sacrilegious traitor. On account of these characteristics the tapestry is a commentary on the chronicles of the period which historians like Freeman could not well neglect.

Of the ancient world the Egyptians were perhaps the most profuse in picture-making. Not only their monuments and manuscripts were adorned with paintings and sculpture, but the written language itself was pictorial. In hieroglyphic writing pictures represent ideas and eventually words or syllables. These ideo-graphs are interesting exhibits

of the psychology of the people, for they show the forms in which ideas first presented themselves, as well as the natural field of imagination and the power of expression. Aside from the pictorial aspects of language, it will be found in the interpretation of ancient art that one must take account of numerous conventionalities, due partly to the nature of the materials, and partly to customary modes of expression. To depict properly a scene in low relief or in outline upon stone requires a somewhat advanced state of art, hence in Egyptian pictures there is a painful absence of perspective. To make up for this the important personages of the scene are usually made larger than the rest. When we see a long procession of various races of people bringing tribute to one of the Pharaohs we need not assume that the royal family was a race of giants, or that the tributaries were pigmies. This is clearly a conventional expression of their power and pretentions, rather than their physical measurements. Their pretentions are found also in the written inscriptions and in the subject of the picture, in which the prowess of the king in battle is frequently superhuman. Yet in this same procession of captives most interesting evidence is found in regard to the color and race-characteristics of the nations with whom the Egyptians came in contact. These paintings and an occasional piece of sculpture give, in fact, a clue to the uncertain race of the Egyptians themselves. They are depicted as lighter in color than their African neighbors and still differing in feature from the contemporary Asiatics.

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