Popular art, in our people, is entirely original and much more highly advanced than in the neighboring peoples. The remains of the ancient popular painting are still in existence in the left half of the Ukraine. Wood carving has developed to a highly artistic form among the Hutzuls
(there are the well-known peasant-artists Shkriblak, Mehedinyuk, and others). The chief field of Ukrainian popular art, however, is decoration. Two fundamental types are used; a geometric pattern with the crossing of straight and broken lines, and a natural pattern, which is modelled after parts of plants (as leaves, flowers, etc.). In the embroideries, cloths and glass bead -work, we find such an esthetic play of colors, that even tho each individual color is glaring, the whole has a very picturesque and harmonious effect. The decorative art of the Russians is much lower. It is based on animal motifs or entire objects, e. g., whole plants, houses, etc., and evinces an outspoken preference for glaring colors," which are so combined, however, as to shock the eye. Among the Poles, the art of ornamentation is very slightly developed. As for colors, they prefer the gaudy, not many at a time; usually, blue is combined with bright red.
For the sake of completeness, we must still say something about Ukrainian manners and customs. In this aspect, too, the Ukrainian peasantry is richer than its neighbors. Only the White Russians are not far behind them. The entire life of a Ukrainian peasant, in itself full of need and poverty, is, nevertheless, full of poetic and deeply significant usages and customs, from the cradle to the grave. Birth, christening, marriage, death, all are combined with various symbolic usages, particularly the wedding, so rich in ceremonies and songs, so different in its entire substance from the Russian or Polish. The entire year of the Ukrainian constitutes one great cycle of holidays, with which a host of ceremonies are connected, most of which have come down from pre-Christian times. We find similar ceremonies among the White Russians, some also among the Poles, e.g., Christmas songs, songs of the seasons, but among the Russians, on the other hand, we find no parallel to the Ukrainian conditions. Among the Russians,
neither the Christmas songs (kolady) are customary, nor the ceremonies of Christmas eve ibohata kutya), neither the midwinter festival (shchedri vechir), with its songs (shchedrivki), nor the spring holidays (yur russalchin velikden) and spring songs (vesnianki), nor the feast of the solstice (kupalo), nor the autumn ceremonies on the feast-days of St. Andrew or St. Katherine, etc. The entire essence of the popular metaphysics of the Ukrainians is quite foreign to the Russians, and almost entirely so to the Poles. Only the White Russians form a certain analogy, but, among them, pure superstition outweighs customs and ceremonies in importance.
Sufficient facts have been given to make clear to the reader the complete originality and independence of Ukrainian popular culture. We now come to a brief survey of the cultural efforts of the educated Ukrainians.
The number of educated Ukrainians is comparatively small. Hardly a century has passed since the intelligence of the nation awoke to new life, yet, in its hands lies the development of the national culture in the widest sense of the word. The disproportion between the magnitude of the task and the small number of the workers for culture, is at once apparent. And yet the results of the work, in spite of obstacles on every side, have grown in volume.