PART I PAINTING · 繪 畫

01 THE OLDEST PICTURES IN THE WORLD ◆ 世界上古老的畫

02 WHAT’S WRONG WITH THIS PICTURE ◆ 這畫有毛病嗎

03 PALACE PICTURE PUZZLES ◆ 王宮拼圖

04 APRIL FOOL PICTURES ◆ 愚人畫

05 JARS AND JUGS ◆ 瓶罐上的畫

06 PICTURES OF CHRIST AND CHRISTIANS ◆ 基督畫像和基督徒的畫

07 THE SHEPHERD BOY PAINTER ◆ 牧童畫家

08 THE ANGEL-LIKE BROTHER ◆ 天使般的弟兄

09 BORN AGAIN PAINTERS ◆ 再生的畫家

10 SINS AND SERMONS ◆ 罪惡與布道

11 A GREAT TEACHER AND A “GREATEST” PUPIL ◆ 偉大導師和“偉大”學生

12 THE SCULPTOR WHO PAINTED PICTURES ◆ 畫畫的雕刻家

13 LEONARDO DA VINCI ◆ 列奧納多· 達· 芬奇

14 SIX VENETIANS ◆ 六個威尼斯人

15 A TAILOR’S SON AND A MASTER OF LIGHT ◆ 裁縫之子和光影大師

16 FLEMINGS ◆ 佛蘭德斯人

17 TWO DUTCHMEN ◆ 兩個荷蘭人

18 ü AND JR. ◆ 丟勒和小霍爾拜因

19 FORGOTTEN AND DISCOVERED ◆ 遺忘與發現

20 SPEAKING OF SPANIARDS ◆ 話說西班牙畫家

21 LANDSCAPES AND SIGN-BOARDS ◆ 風景畫和廣告牌

22 STIRRING TIMES ◆ 動蕩的年代

23 A LATE START ◆ 後來居上

24 THREE ENGLISHMEN WHO WERE DIFFERENT ◆ 三個不同的英國人

25 SOME VERY POOR PAINTERS ◆ 幾位非常貧窮的畫家

26 THE MOST IMPORTANT PERSON ◆ 重要的角色

27 POST-IMPRESSIONISM ◆ 後印像主義

28 EARLY AMERICANS ◆ 早期美國畫家

29 MORE AMERICANS ◆ 更多的美國畫家

30 TWO EUROPEAN AMERICANS ◆ 兩個歐洲美國人

31 REAL-MEN ARTISTS ◆ 真正的男子漢畫家

PART II SCULPTURE · 雕 刻

32 THE FIRST SCULPTURE ◆ 初的雕刻

33 GIANTS AND PYGMIES ◆ 巨像和小雕

34 CHERUBS AND KINGS ◆ 基路伯和國王

35 MARBLES ◆ 大理石雕像

36 STANDING NATURALLY ◆ 自然的站姿

37 THE GREATEST GREEK SCULPTOR ◆ 古希臘偉大的雕刻家

38 AFTER PHIDIAS ◆ 菲迪亞斯之後

39 PLASTER CASTS ◆ 石膏摹制品

40 TINY TREASURES ◆ 寶石小雕

41 BAKED EARTH SCULPTURE ◆ 陶土雕刻

42 BUSTS AND RELIEFS ◆ 半身像和浮雕

43 STORIES IN STONES ◆ 石頭裡的故事

44 THE GATES OF PARADISE ◆ 天國之門

45 A TREASURE HUNTER AND A SECRET ◆ 尋寶人和秘密

46 NEXT BEST AND BEST ◆ 秀和第二優秀的騎馬雕像

47 FOUR IN ONE ◆ 四合一

48 CELLINI MAKES HIS PERSEUS ◆ 切利尼鑄造帕爾修斯銅像

49 A.M. OR AFTER MICHELANGELO ◆ 米開朗基羅前後

50 AN ITALIAN AND A DANE ◆ 一個意大利人和一個丹麥人

51 ON A POSTAGE STAMP ◆ 郵票上的雕像

52 A LION, A SAINT, AND AN EMPEROR ◆ 獅子、聖人和國王

53 A HANDSOME PRESENT ◆ 精美的禮物

54 THOUGHTS FOR THINKERS ◆ 思想者的思想

55 OUR OWN SCULPTURE ◆ 美國的雕刻

56 OUR BEST ◆ 美國棒的雕刻家

57 DANIEL CHESTER FRENCH ◆ 丹尼爾· 切斯特· 佛蘭奇

58 WOMEN’S WORK ◆ 女雕刻家的作品

59 THE END OF THE TRAIL ◆ 路的盡頭

PART III ARCHITECTURE · 建 築

60 THE OLDEST HOUSE ◆ 古老的房子

61 HOUSES FOR GODS ◆ 神 廟

62 MUD PIE PALACES AND TEMPLES ◆ 土餅宮殿和神廟

63 THE PERFECT BUILDING ◆ 完美的建築

64 WOMAN’S STYLE BUILDING ◆ 女性風格的建築

65 NEW STYLES IN BUILDINGS ◆ 建築新風格

66 ROME WAS NOT BUILT IN A DAY ◆ 羅馬非一日所建

67 TRIMMINGS ◆ 裝飾物

68 EARLY CHRISTIAN ◆ 早期基督教建築

69 EASTERN EARLY CHRISTIANS ◆ 早期東方基督教建築

70 LIGHTS IN THE DARK ◆ 黑暗中的亮光

71 ROUND ARCHES ◆ 圓 拱

72 CASTLES ◆ 城 堡

73 POINTING TOWARD HEAVEN ◆ 直入雲霄的建築物

74 IN PRAISE OF MARY ◆ 贊美瑪利亞的建築物

75 COUNTRY CATHEDRALS ◆ 鄉村大教堂

76 HERE AND THERE ◆ 歐洲各地

77 OPEN SESAME ◆ 芝麻開門

78 DOME TROUBLE ◆ 麻煩的圓頂

79 BACKWARD AND FORWARD ◆ 回顧過去，展望未來

80 THE HOMES OF ENGLAND ◆ 英國式住宅

81 TRADE-MARKS ◆ 有標記圖案的建築物

82 BREAKING RULES ◆ 打破陳規

83 THE ENGLISH RENAISSANCE ◆ 英國文藝復興式建築

84 FROM HUTS TO HOUSES ◆ 從茅屋到房屋

85 AL AND OL ◆ 首都和國會大廈

86 RAINBOWS AND GRAPE-VINES ◆ 彩虹和葡萄酒

87 THE SCRAPERS OF THE SKY ◆ 摩天大廈

88 NEW IDEAS ◆ 新思維

89 NONS AND SURS ◆ 非寫實和超現實

90 MORE MODERN PAINTERS ◆ 更多現代畫家

91 MODERN SCULPTURE ◆ 現代雕刻

THE OLDEST PICTURES IN THE WORLD

世界上古老的畫

I WAS listening to the teacher， but I had my pencil in my hand.
There were two little

dots about an inch apart on my desk lid. Absent-mindedly I
twisted my pencil point

into one dot and then into the other. The two dots became two
little eyes. I drew a circle around each eye， then I joined the two
circles with a half-circle that made a pair of spectacles.

The next day I made a nose and a mouth to go with the eye and
spectacles.

The next day I finished the face and added ears and some
hair.

The next day I added a hat.

The next day I added a body， with arms， legs， and feet.

The next day I went over the drawing again， bearing heavily on
my pencil. Over and

over again I followed the lines till they became deep grooves in
my desk lid.

The next day my teacher caught me and I caught it！

The next day my father got a bill for a new desk and I got-
Well， never mind what I got.

“Perhaps he's going to be an artist，” said my mother.

“Heaven forbid！” said my father. “That would cost me much more
than a new desk.”

And heaven did forbid.

I know of a school that has a large wooden tablet in the hall
for its pupils to draw

upon. At the top of the tablet is printed：

IF YOU JUST MUST DRAW， DON'T DRAW ON YOUR DESK，

DRAW ON THIS TABLET.

If you put a pencil in any one's hand， he just must draw
something. Whether he is

listening to a lesson or telephoning， he draws circles and faces
or triangles and squares

over the pad-if there is a pad. Otherwise he draws on the desk
top or the wall， for he just must draw something. Have you ever
seen any telephone pad that was not scribbled

upon？ We say that's human nature. It shows you are a human
being.

Now， animals can learn to do a good many things that human
beings can do， but one

thing an animal can't learn is to draw. Dogs can learn to walk
on two legs and fetch the newspaper. Bears can learn to dance.
Horses can learn to count. Monkeys can learn to drink out of a cup.
Parrots can learn to speak. But human beings are the only
animals

that can learn to draw.

Every boy and girl who has ever lived has drawn something at
some time. Haven't

you？ You have drawn， perhaps， a horse or a house， a ship or an
automobile， a dog or a cat. The dog may have looked just like a cat
or a cat-erpillar， but even this is more than any animal can
do.

Even wild men who lived so long ago that there were no houses.
only caves， to live

in-men who were almost like wild animals， with long hair all
over their bodies-could

draw. There were no paper or pencils then. Men drew pictures on
the walls of their

caves. The pictures were not framed and hung on the walls. They
were drawn right on

the walls of the cave and on the ceiling too.

Sometimes the pictures were just scratched or cut into the wall
and sometimes they

were painted in afterward. The paints those men used were made
of a colored clay

mixed with grease， usually simply red or yellow. Or perhaps the
paint was just blood，

which was red at first and then turned almost black. Some of the
pictures look as if they had been made with the end of a burned
stick as you might make a black mark with the end of a burned
match. Other pictures were cut into bone-on the horns of deer or on
ivory tusks.

Now， what do you suppose these cave men drew pictures of？
Suppose I asked you to

draw a picture of anything-just anything. Try it. What you have
drawn is probably one

of five things. A cat is my first guess， a sail-boat or an
automobile is my second， a house is my third guess， a tree or a
flower is my fourth， and a person is my fifth. Are there any other
kinds？

Well， the cave men drew pictures of only one kind of thing. Not
men or women or

trees or flowers or scenery. They drew chiefly pictures of
animals. And what kind of

animals， do you suppose？ Dogs？ No， not dogs. Horses？ No， not
horses. Lions？ No， not

lions. They were usually big animals and strange animals. But
they were pretty well

drawn， so that we know what the animals looked like. Here is a
picture a cave man drew

thousands of years ago.

You know it's a picture of some animal， and it's not a cat or a
caterpillar. It is some animal of the kind they had in those days.
It looks like an elephant and it was a kind of elephant-a huge
elephant. But its ears were not big like our elephants' ears and it
had long hair. Elephants now have skin or hide， but hardly any
hair. This animal we call a mammoth. It had long hair because the
country was cold in those days and the hair kept the animal warm.
And it was much， much bigger even than our elephants.

There are no mammoths alive now， but men have found their bones
and they have put

these bones together to form huge skeletons. We still call any
very big thing “mammoth.”

You've probably heard of Mammoth Cave in Kentucky. It was called
Mammoth， not

because mammoths lived in it， because they didn't， but just
because it is such a huge

cave.

The cave men drew other animals besides the mammoth. One was the
bison， a kind of

buffalo. You can see a picture of a buffalo on our five-cent
piece. It looks something like a bull. A little girl had gone to a
cave in Spain with her father， who was searching for arrow-heads.
While he was looking on the ground， she was looking at the ceiling
of the cave and she saw what she thought was a herd of bulls
painted there. She called out， “See the bulls！” and her father，
thinking she had seen real bulls， cried： “Where？ Where？”

Other animals they drew were like those we have now-reindeer，
deer with big antlers， and bears and wolves.

It was quite dark in the caves where the cave men drew these
pictures， for of course

there were no windows， and the only light was a smoky flame from
a kind of lamp.

Why， then， did they make pictures at all？ Such pictures couldn't
have been just for wall decorations， like those you have on your
walls， because it was so dark in the cave. We think the pictures
were made just for good luck， as some people put a horseshoe
over

the door for good luck. Or perhaps they were to tell a story or
make a record of some

animal the cave man had killed. But perhaps the cave man just
had to draw something，

as boys and girls nowadays draw pictures on the walls of a shed
or even sometimes on

the walls of their own houses or， worse yet， on their desk
tops.

The pictures made by these wild men-bearded and hairy cave men
-are the oldest

pictures in the world， and the artists who made them have been
dead thousands of years.

Can you think of anything you might ever make that would last as
long as that？

【中文閱讀】

我正在聽老師講課，可手裡在玩鉛筆。

我課桌的桌面上有兩個相距約一英寸的小點。

我心不在焉地轉動手中的鉛筆，用筆尖在一個點上戳了一下，又在另一個點上戳了一下。兩個小點變成了一雙小眼睛。我在每隻眼睛旁邊畫了個圈，又畫了個半圈，把兩個圓圈連起來，這就畫出了一副眼鏡。

第二天，我畫了鼻子和嘴巴，配合那雙眼睛和眼鏡。

第三天，我畫完了臉，還補充了耳朵和頭發。

第四天，我又加了一頂帽子。

第五天，我添上了身體部分：胳膊、腿和腳。

第六天，我還是拿鉛筆用力地畫著。我一遍又一遍地描著線直到把它們深深地印在我的課桌上。

第七天，我被老師逮個正著，但我也畫完了。

第八天，我爸收到了一張新課桌的賬單，而我卻得到了-- 算了，甭提我得到了什麼吧。

“他可能會成為畫家。”母親說。

“但願不會！”父親答道，“那要花掉我比一張新課桌多得多的錢。”好在上帝攔阻了。

據我所知，某所學校在大廳裡放置了一塊大木牌，學生塗鴉。木牌上方刻著這樣一句話：

如果你想畫畫，就在這塊牌子上畫吧，

隻是不要在課桌上畫。

如果把鉛筆放在某人手中，他就一定會畫點什麼。他不管是在聽課還是在接電話，隻要手頭有本便簽簿，他就會在上面畫些圈圈啦，臉蛋啊，或者是三角形和正方形什麼的。要不他就會在課桌或牆壁上塗畫，因為他總得要畫點什麼。你看見過沒有被亂塗亂畫的電話簿嗎？這就是人的本性。這表明你是一個真正的人。

如今，動物可以學做許多人類能做的事情，但有一件事動物學不會，那就是畫畫。狗能用兩條腿學走路，甚至幫人取報紙；熊能學會跳舞；馬能學會數數；猴子可以學用杯子喝水；鸚鵡可以學舌；但是隻有人類纔能學會畫畫。

每一個男孩或女孩都在童年時代的某個時候畫過些什麼。難道不是嗎？你或許畫過馬或房子，船或汽車，狗或貓。這狗被你畫得就像貓，或像一條毛毛蟲，但即便如此，你還是比任何動物都強。

甚至生活在很久以前的原始人也能畫畫。那時還沒有房屋，他們全身長著長長的毛發，隻住在洞穴裡過著幾乎和野獸一樣的生活。那時候沒有紙和筆。他們在穴壁上畫畫。這些圖畫沒有裝裱懸掛在牆上，而是直接畫在洞壁和洞頂上。

這些圖畫有的隻是塗鴉或刻在洞壁上，有的是後來纔畫上去的。當時人們所用的顏料是由一種摻雜著動物油脂的有色粘土混合制成的，通常隻有紅黃色，或者就用鮮血做顏料，開始是紅色，後來幾乎就變成了黑色。有些圖畫看起來就像是用一根燒焦的木棒頭畫的，就像我們用一根燒過的火柴頭畫一個黑色標志。還有些圖畫是刻在骨頭上的，比如鹿角或像牙。

現在來猜想一下這些穴居人畫的是什麼？如果讓你隨意畫幅畫--也就是畫什麼都行。試試看吧。你畫的可能是以下五種事物中的一種。我首先猜的是貓，第二次猜了帆船或汽車，第三次猜的是房子，第四次猜的是樹或花，後纔猜了人。還會猜出其他什麼呢？

其實，穴居人隻畫了一種東西。不是男人，不是女人，不是樹、不是花，也不是風景。他們主要畫的是動物。你認為他們畫的是哪種動物呢？狗？不，不是狗。馬？不，不是馬。獅子？不，也不是獅子。他們通常畫的是一些大型和奇特的動物。但這些動物都畫得栩栩如生，這使我們知道這些動物的長相。下圖是一個幾千年前的穴居人畫的畫。

我們看得出這畫的是某種動物，但不是貓，也不是毛毛蟲。那是他們那個時代特有的某種動物。它看起來像一頭像，而它的確就是像的一種--巨像。它的耳朵沒有我們現在的像那麼大，還長著長長的毛發。現在的像有獸皮或毛皮，但幾乎沒有毛發。我們把圖上的動物稱為猛犸（又名毛像）。毛像的毛發很長，因為那時候天氣寒冷，而長毛可以保暖。但它比我們現在的像大很多很多。

如今猛犸早已絕種，但人類已經找到了它們的骨頭，並把它們放在一起拼成了一個大型骨架。我們現在仍將龐然大物稱作“猛犸”。你可能聽說過肯塔基州的猛犸洞穴。它被稱作猛犸洞並不是因為猛犸在這洞裡住過，實際並沒住過，而僅僅因為這是一個非常大的洞穴。

除了猛犸，穴居人還畫過其他動物。其中有種野牛，就是水牛。水牛的圖片可以在美國的5
分硬幣上看到。它看起來像一頭公牛。在西班牙，有個小女孩曾和她的父親一起走進一個洞穴，他們按著箭頭，爸爸在地上尋找，小女孩卻盯著洞頂打量。她看見洞頂上畫了一群她以為是公牛的動物。她大喊一聲，“看，公牛！”她爸爸還以為她看見了真的公牛，喊道：“在哪？在哪？”

他們畫的其他動物和我們今天有的這些動物差不多--馴鹿、長角鹿，還有熊和狼。

穴居人畫畫的穴洞十分昏暗，因為那兒根本就沒開窗。的光亮就是某種壁燈發出的昏暗的光。那他們干嗎要畫畫呢？這些圖畫不可能僅僅隻是為了裝飾洞壁，就像我們在牆上掛畫一樣，因為洞穴裡實在是太暗了。我們認為穴居人畫畫是為了祈求好運，就像人們把馬蹄鐵放在門頭上企盼吉祥是一樣的。或者他們是要講述一個故事或就是記下捕殺的某種動物。或許他們不得不畫畫，就像現在的孩子們在小木屋，甚至有時候在自家的牆上畫畫一樣，或干脆就在課桌上畫。

這些原始人--多須長毛的穴居人--
畫的是世界上古老的畫。但這些藝術家早在幾千年前就去世了。你認為你所制作的任何東西能像那些畫一樣持久嗎？

……