# Of the Ancient Practice of Painting explained — Flatland

> Chapter companion for Flatland by Edwin A. Abbott.

## What happens

The Square describes the historical period when painting was introduced to Flatland by a Pentagon named Chromatistes, leading to a widespread adoption of color among all classes except women and Priests. This era, known as the Colour Revolt, brought aesthetic richness and artistic beauty to Flatland, but was ultimately suppressed.

## Themes in this chapter

### Conformity and Deviance

The adoption of painting spread rapidly as a fashion, but the Priests and women resisted, highlighting the tension between innovation and tradition.

### Social Hierarchy and Class

The practice of painting was adopted by all classes except the highest nobility (Circles) and women, reinforcing class distinctions.

### Perception and Reality

Painting altered how individuals were perceived, eliminating the need for tactile identification and changing social interactions.

## Character check-ins

### The Narrator (A Square)

The narrator describes the historical practice of painting and its aesthetic impact on Flatland.

### Chromatistes

The Pentagon who discovered painting and initiated the Colour Revolt by decorating himself and others.

### The Circles

The Priests (Circles) resisted the innovation of painting, remaining colourless along with women.

### The Isosceles

The Isosceles soldiers are described in military reviews, displaying vibrant colors during the Colour Revolt.

## Key lines

> If my readers have followed me with any attention up to this point, they will not be surprised to hear that life is somewhat dull in Flatland.

The Square acknowledges that Flatland is aesthetically monotonous.

_Sets the stage for the historical contrast with the colorful past._

> Colour, if tradition speaks the truth, once for the space of half a dozen centuries or more, threw a transient splendour over the lives of our ancestors in the remotest ages.

According to tradition, color once brought a brief period of beauty to Flatland.

_Introduces the historical era of painting._

> Wherever Chromatistes—for by that name the most trustworthy authorities concur in calling him—turned his variegated frame, there he at once excited attention, and attracted respect.

Chromatistes, the discoverer of painting, immediately drew admiration wherever he went.

_Highlights the social impact of the innovation._

> No one now needed to “feel” him; no one mistook his front for his back; all his movements were readily ascertained by his neighbours without the slightest strain on their powers of calculation.

Color made identification easy, eliminating the need for tactile recognition.

_Emphasizes the practical benefits of painting._

> The fashion spread like wildfire.

The practice of painting became extremely popular very quickly.

_Describes the rapid adoption of the innovation._

> Needless to say, the custom soon made its way from the district of Chromatistes to surrounding regions; and within two generations no one in all Flatland was colourless except the women and the Priests.

Within two generations, everyone except women and Priests had adopted painting.

_Shows the extent of the trend and the exceptions._

> Immoral, licentious, anarchical, unscientific—call them by what names you will—yet, from an aesthetic point of view, those ancient days of the Colour Revolt were the glorious childhood of art in Flatland—a childhood, alas, that never ripened into manhood, nor even reached the blossom of youth.

Despite being condemned, the Colour Revolt was a golden age of art that never fully developed.

_Reflects on the aesthetic value of the period despite its suppression._

## Links

- HTML: https://www.betterreads.online/discover/flatland_se/chapters/viii-of-the-ancient-practice-of-painting
- Book: https://www.betterreads.online/discover/flatland_se
- All chapters: https://www.betterreads.online/discover/flatland_se/chapters