FIG. 74. VASE-PAINTER USING FEATHER-BRUSH.
It is not likely that this instrument was generally used before the introduction of the R.F. style; it would hardly have been required either for the silhouette figures of the B.F. vases or the outlines on the white ground. According to Hartwig, Andokides, one of the earliest R.F. artists (about 520 B.C.) was making experiments in the use of the feather-pen, and in the course of twenty years, in the vases of Epiktetos and his school, its use had become general. It is not indeed unknown on B.F. vases, and can be traced in the ornamentation where fine lines were required, as on the Amasis vase in the Bibliothèque Nationale.[[804]] It was probably first used in the more developed Ionic pottery, but as we have seen had no chance of becoming generally used until the essentially linear R.F. style came into vogue. The artists who reached the height of skill in its use were Meidias and the painters of the delicate little vases of the latter half of the fifth century, this instrument being also admirably adapted for making the fine inner lines in which the painters of that period achieved such success.
Besides the painting-brush and the feather-pen, the other instruments used in the decoration of vases include the pointed graving-tools employed for incised lines, modelling-tools for the parts in relief, a stick for steadying the hand while at work, and a pair of compasses. The latter were employed for marking circles, as may be clearly seen on shields on the B.F. vases, where the mark left by the central point of the compasses is often visible.
The difficulties in the painting of Greek vases must have been numerous. In the first place, it was necessary for the artist to finish his sketch with great rapidity, since the clay rapidly absorbed the colouring matter, and the outlines were required to be bold and continuous, any joins producing a bad effect. Again, the vases were often painted while in an upright position, and the artist was obliged to stoop, rise, and execute his work in these difficult attitudes; nor could he remove the pencil from any figure which he had once begun. The eye must have been his only guide. Then, as he was obliged to draw his outline upon a damp surface, the black colour which he used was instantly confounded with the tint of the clay. The lines grew broad at first, and afterwards contracted themselves, leaving but a light trace, so that the artist could with difficulty discern what he had been doing. Moreover, the lines, once begun, could not be left off except where they met other lines which cut or terminated them. Thus, for example, the profile of a head must have been executed with a single continuous line, which could not be interrupted till it met the neck; and in drawing a thigh or leg, the whole outline must have been finished without taking off the pencil: proceeding from the top downwards, making use of the point to mark the horizontal lines, and afterwards rising upwards to finish the opposite side. The drawing was done entirely by the hand and no pattern used.
The outlines round the figures on R.F. vases were drawn strongly, in the manner described above, to prevent the background encroaching on the figure. That this was done while the clay was moist appears by the outlines uniting, which could not have taken place if the clay had been dry. It was so difficult to fill in the outlines without alteration, that they were frequently changed, and sometimes the ground was not reached, while at others it exceeded the line.
The ancient artists, notwithstanding these difficulties, observed all the laws of balance and proportion, especially ἰσομετρία, or the law of equal height of all figures; conveyed expression by means of attitude; and, by the use of profile, and the introduction of accessories, or small objects, into the background, contrived to compensate for the want of perspective.
This latter deficiency was due to the use of flat colours, which did not allow of shades, and the figures were consequently not seen in masses distinguished by light and shade, but isolated in the air. Hence, in order to make the figures distinct, and to express by attitude all the actions and sentiments required, the artist was compelled to use profile. The black colour, the choice of which may at first appear singular, is, after all, the most harmonious, and the best suited for showing the elegance and purity of the outline; whilst by its aptness to reveal any defects of shape, it compelled the artist to be very careful in his drawing.
The colours employed[[805]] were, as we have seen, remarkably few in number. Of the black varnish which plays such an important part, and of its composition we have already spoken. Of the opaque accessory colours, the white is said by Brongniart[[806]] to be a carbonate of lime or fine clay. It is evidently an earth of some kind, and gives no trace of lead under analysis. The creamy slip of the white-ground vases is of similar character, and appears to be a kind of pipeclay. It was probably of the same character as the earth of Melos used by Polygnotos.[[807]] The deep purple or crimson, so largely employed on the Corinthian and early Attic B.F. vases, is known to be an oxide of iron, an element which entered largely into the red glaze. The yellow found on the white vases and those of Apulia as an accessory to white is of an ochrous nature. The red used for outlines on the white lekythi is probably not vermilion (minium), but red ochre (μίλτος, rubrica). Blue and green, which are rarely found, and only on vases of the later styles, were produced from a basis of copper. On vases from the time of Euphronios and Brygos (about 480 B.C.) onwards, gilding was occasionally employed, the process being one which we have already described (see above, p. [210]). Good instances of this process are to be seen in the fourth-century vases from Capua, which are glazed black throughout and ornamented solely with gilding.[[808]] But the gold leaf has often perished. Besides Capua, these vases are found chiefly in Athens and the Cyrenaica.