Greek
No. 17. Early Treatment of Doric Order. Tomb of Beni Hassan.
Though, in their architecture, the Greeks progressed no further than the Lintel, yet they must be credited with the development of the system of the orders, which formed the basis of subsequent styles.
The two prominent orders were the Doric and the Ionic; the former has its prototype in the tomb of Beni Hasan, the date of which is 1740 B.C., while the latter is evidently derived as to the voluted form of the capital, from Assyrian and Persian originals.
No. 18. Early anticipation of Ionic Order. Tomb at Kyanea-Jaghu.
The capital of the Corinthian order may be considered to be a development of the Egyptian Papyrus form, the earliest features of both consisting of an inverted bell-shape decorated with leaf-like detail.
No. 19. Greek Vase Paintings. A. Doric columns. B. Wall fountain. C. Ionic columns with pediment.
Characteristic Greek details, such as the Anthemion and wave scroll, are traceable to the same sources.
Their architectural work, which was monumental in character, was mostly manifested in the temples, the domestic buildings being relatively unimportant.
No. 20. Greek house about 100 A.D. Bas-relief in British Museum, Bacchus visiting Icarius.
Some idea as to these may be gathered from the vase paintings in the British Museum, on which they appear simple in form, mostly Doric in character, and probably of wood construction, the metopes in the frieze being open spaces for purpose of interior lighting.
Though the Greeks invested many of their creations with Epic and Symbolic meaning, much of their ornament was purely æsthetic.
The sculptured metopes of the Parthenon, representing the conflict between the Lapithae and the Centaurs, are an example of the Epic treatment.
The Sphinx, borrowed from Egyptian art, was, however, invested with a different meaning, and is an example of the Symbolic class, which formed so large a part in Greek art.
Greek architecture differs from preceding styles in the development of mouldings, and the exterior columnar effect. The mouldings in the Ionic and Corinthian phases were enriched with carved details, probably developed from or suggested by earlier painted decoration.
No. 21. Front elevation and plan of Parthenon, Athens
No. 22. Greek Ionic Erectheum, Athens.
The Doric style was presumably so decorated, with painted details on the ovolo and abacus of the capital, and the corona and other members of the cornice.
Colour was employed on the backgrounds of the metopes, mostly blue and red, resulting in an alternation of colour with plain stone areas; the colour decoration forming horizontal bands.
One important development, due to climatic conditions, was the pitched roof, which entailed the end walls being carried up in triangular form (literally gables), which were framed by the upper members of the entablature.
This feature, technically known as the Pediment, was in buildings of importance invariably filled by sculpture, Mythological or Epic in subject, designed to occupy the shape.
The styles mostly employed were the Doric and Ionic, and these were exploited contemporaneously, the Parthenon, 430 B.C., representing the culmination of the former.
Of the Corinthian style—comparatively little used by the Greeks, though much employed and developed later—the Choragic monument at Athens, 330 B.C., is the most complete example, though the leaf capital was anticipated in a simpler form in the earlier Tower of the Winds.
The earliest representations of Greek furniture are to be found in the Syrian Room at the British Museum. These are the chairs dated about 6 B.C., in which the antique figures are seated. The backs are perpendicular, and the frame pieces of the seats are mortised into the legs.
No. 23. Greek Corinthian, Choragic Monument, Athens.
The Greek couch was not unlike the modern sofa. It was used for sleeping and resting. Chairs and stools were sometimes made of metal, and were often of a folding type.
Tables were constructed in various shapes—sometimes the supports were fashioned as heads and legs of lions and leopards, and sometimes as sphinxes with lifted wings. In common with other pieces of furniture, they were made in wood, metal and marble.
No. 24. Greek Furniture.
A. Couch or bed, Archaic Etruscan.
B. “ “ Vase painting.
C. Archaic chair, 580-520 B.C.
D. Chair from Hydria.
E. Archaic chairs, Harpy Tomb, 500 B.C
F. Archaic chairs, Harpy Tomb, 500 B.C.
The vase rooms of the British Museum provide considerable matter for study with regard to the details of Greek furniture, couches especially are frequently depicted.
The Greeks were expert workers in cast bronze, as is evidenced, not only by their statuary, but in many utensils of domestic life, notably the oil lamps, which were also in many instances modelled in terra cotta.
No. 25. Greek Pottery.
A. Kelebe (mixing bowl), 6th century B.C.
B. Lekythos (oil bottle), Athenian (about) 450 B.C.
C. Mastos, coloured black, red and white.
D. Hydria (pitcher), 350-250 B.C.
E. Kylix (goblet), 520 B.C.
Soon after the sack of Corinth in 140 B.C., Greece became a Roman province, and the Greek art workers eventually found more encouragement from Roman patronage than in local requirement.
They therefore went where their work was appreciated and rewarded, thereby effecting a potential influence in the art and work of their conquerors.