"An elm bent with great strength in the woods, is forced into a buris and receives the form of the crooked plough.To it are fitted the temo stretched out eight feet from the lower end, the two antes, the dentalia with the double back, and the stiva which bends the lower part of the plough behind.The light elm tree is fitted beforehand, for the yoke, and the lofty beech for the other parts, and the smoke seasons the wood hung up above the fire." (70)I see not that this buris , which has given some of the commentators a little trouble, can be any thing else than the original crooked sapling, here swollen to a large elm knee, forming the body of the plough, " inflexi grave robur aratri , and to which, all the other parts are appended.
From it, instead of the longer straight part of the sapling, stretched forward, a separate piece, termed the temo or pole, and the stiva , or handle, was retained.So far there was very little difference from the original instrument, but in the antes, the ears, we have the beginnings of the mould board, and there is a place for the reception of the vomer, the large cutting iron share.These appendages, the more difficult soil of some parts of Italy probably introduced, and when adopted in one part, they could scarce fail to spread over it all.
The plough thus changed into an instrument for turning over, not merely stirring the soil, was carried by the Romans into other, and more northern regions, and transmitted to other races.These and subsequent revolutions, obliterated the imitation of the original curved sapling.The curve became art angle, formed by a short downright beam or pillar, the sheath or forehead , fitted into the shortened pole or temo , and bearing, as before, the chief stress of the draft.Greater symmetry and lightness were thus given to it.The mould board gradually attained its present form, the coulter and another handle were added.In recent days, it has been made nearly altogether of iron.In.Britain, where this revolution in the material was introduced, it is deserving of notice that the metal implement, only that its parts are slenderer, is an exact copy of the wooden one.There is yet too the sheath.In some, at least, of the American iron ploughs, the solo connexion between the upper and lower parts, unless that given by the mould boards themselves, is a strong bolt screwing tight.For a plough of such materials, this last metamorphosis of the original sapling or buris , would seem the better construction.
Thus, the moving of this implement from one region and people to another, the consequent adaptation of it to different and more difficult soils, and the change of the materials of which it is formed, seem to have been the occasions of its successive improvement.They have stimulated the Faculty of invention, and weakened the propensity to servile imitation.The instrument, so changed, it may be remarked, is on its return to countries in which, perhaps, it first assumed form.English ploughs are to be seen in India, and some modification of them, must, in time, become the general plough of the country.
Our next example, of the effects of these circumstances on the development of the inventive faculty, will be taken from the progress of sacred architecture.
It conspicuously exhibits the strength of the principle itself, and the trammels by which its energies are sometimes confined.
When men worship the deity, they find their devotional dispositions assisted by the presence of external objects, partaking of his attributes.
Titus, whatever brings sensibly before us the ideas of very great power, and unlimited duration, fills the mind with thoughts that are very near akin to devotion.Hence, men in almost all ages and countries, have either made choice of particular natural objects, inspiring such ideas, as concomitants of their devotions; they have worshipped turning to the sun, or in groves, or on the tops of mountains; or they have formed things, having in their conceptions a sort of unison, in this way, with the object of their worship.
Of all the people who have employed themselves in formations of this sort, and devoted a portion of their industry to the construction of instruments serving, in some degree, to satisfy those natural longings of the human mind after something bringing before it the perfections of the deity, none have been more eminently success fill than the Egyptians.The suddenness with which the art there attained an excellence, that even now commands our fullest admiration, is a phenomenon well deserving the attention of speculators on the extent of the human powers when roused to free and active exertion.
Several circumstances seem to have contributed to determine the form, which architecture there assumed, and to carry it at once from infancy to maturity.
One of the manifestations of power most apt to attract the notice of men in the early stages of society, as very great, is the moving of large blocks of stone.To men altogether ignorant of the mechanic powers, however strong and numerous, to move a cubic stone of the weight of only two tons would be impossible; for, enough of them could not get hold of it.To men again, having made a progress in art, aware of the advantage, for instance, of the lever, though it might be practicable to move into an upright position, pillars of even a few tons-weight, such objects would seem very striking displays of power.They would also impress them with the ideas of extended duration, which the indestructible nature of the material, is calculated to produce.Accordingly we find that the erection of such columnar masses, has been a very common act of men, in rude states of society, in their efforts to draw themselves near to some conception they have had of the great first cause.
