The fields offered to the draughtsman on Greek vases naturally follow the form of the vase; but they may be set down as approximately round, square or oblong. To each of these spaces the artist carefully adapts his designs. In fig. 1 we have a characteristic adaptation to circular form by the vase painter Epictetus.
In the early period of painting all the space not occupied by the figures is filled with patterns or accessories, or even animals which have no connexion with the subject (fig. 9). In later and more developed art, as in this example, the outlines are so figured as to fill the space.
When the space is square we have much the same problem as is presented by the metope spaces of a temple. In the case of both square and oblong fields the laws of balance are carefully observed. Thus if there is an even number of figures in the scheme, two of them will form a sort of centre-piece, those on either side balancing one another. If the number of figures is uneven, either there will be a group of three in the midst, or the midmost figure will be so contrived that he belongs wholly to neither side, but is the balance between them. These remarks will be made clear by figs. 2 and 3, which repeat the two sides of an amphora, one of which bears a design of three figures, the other of four.
| From Wiener Vorlegeblätter, 1890, Pl. viii., by permission of the Director of the K. K. Österr. Archäol. Institut. |
| Fig. 2. |
| Fig. 3. |
| Vase Drawings. |
The Greek artist not only adhered to the architectonic laws of balance and symmetry, but he thought in schemes. Certain group arrangements had a recognized signification. There are schemes for warriors fighting on equal terms, and schemes which represent the defeat of one of these by the other; the vanquished has commonly fallen on his knees, but still defends himself. There is a scheme for the leading away of a captive woman; the captor leads her by the hand looking back at her, while a friend walks behind to ward off pursuit. Such schemes, are constantly varied in detail, and often very skilfully varied; but the Greek artist uses schemes as a sort of shorthand, to show as clearly as possible what he meant. They serve the same purpose as the mask in the acting of a play, the first glance at which will tell the spectators what they have to look for.
No doubt the great painters of Greece were not so much under the dominion of these schemes as the very inferior painters of vases. They used the schemes for their own purposes instead of being used by them. But as great poets do not revolt against the restrictions of the sonnet or of rhyme, so great artists in Greece probably found recognized conventions more helpful than hurtful.
Students of Greek sculpture and vases must be warned not to suppose that Greek reliefs and drawings can be taken as direct illustrations of Homer or the dramatists. Book illustration in the modern sense did not exist in Greece. The poet and the painter pursued courses which were parallel, but never in actual contact. Each moved by the traditions of his own craft. The poet took the accepted tale and enshrined it in a setting of feeling and imagination. The painter took the traditional schemes which were current, and altered or enlarged them, adding new figures and new motives, but not attempting to set aside the general scheme. But varieties suitable to poetry were not likely to be suitable in painting. Thus it is but seldom that a vase-painter seems to have had in his mind, as he drew, passages of the Homeric poems, though these might well be familiar to him. And almost never does a vase-painting of the 5th century show any sign of the influence of the dramatists, who were bringing before the Athenian public on the stage many of the tales and incidents popular with the vase-painter. Only on vases of lower Italy of the 4th century and later we can occasionally discern something of Aeschylean and Euripidean influence in the treatment of a myth; and even in a few cases we may discern that the vase-painter has taken suggestions direct from the actors in the theatre.
3. Historic Sketch.—We propose next to trace in brief outline the history of Greek art from its rise to its decay. We begin with the rise of a national art, after the destruction of the Minoan and Mycenaean civilizations of early Greece by the irruption of tribes from the north, that is to say, about 800 B.C., and we stop with the Roman age of Greece, after which Greek art works in the service of the conquerors (see [Roman Art]). The period 800-50 B.C. we divide into four sections: (1) the period down to the Persian Wars, 800-480 B.C.; (2) the period of the early schools of art, 480-400 B.C.; (3) the period of the later great schools, 400-300 B.C.; (4) the period of Hellenistic art, 300-50 B.C. In dealing with these successive periods we confine our sketch to the three greater branches of representative art, architecture, sculpture and painting, which in Greece are closely connected. The lesser arts, of pottery, gem-engraving, coin-stamping and the like, are treated of under the heads of [Ceramics], [Gem], [Numismatics], &c., while the more technical treatment of architectural construction are dealt with under [Architecture] and allied architectural articles. Further, for brief accounts of the chief artists the reader is referred to biographical articles, under such heads as [Pheidias], [Praxiteles], [Apelles]. We treat here only of the main course of art in its historic evolution.
Period I. 800-480 B.C.—The fact is now generally allowed that the Mycenaean, or as it is now termed Aegean, civilization was for the most part destroyed by an invasion from the north. This invasion appears to have been Northern invasion. gradual; its racial character is much in dispute. Archaeological evidence abundantly proves that it was the conquest of a more by a less rich and civilized race. In the graves of the period (900-600 B.C.) we find none of the wealthy spoil which has made celebrated the tombs of Mycenae and Vaphio (q.v.). The character of the pottery and the bronze-work which is found in these later graves reminds us of the art of the necropolis of Hallstatt in Austria, and other sites belonging to what is called the bronze age of North Europe. Its predominant characteristic is the use of geometrical forms, the lozenge, the triangle, the maeander, the circle with tangents, in place of the elaborate spirals and plant-forms which mark Mycenaean ware. For this reason the period from the 9th to the 7th century in Greece passes by the name of “the Geometric Age.” It is commonly held that in the remains of the Geometric Age we may trace the influence of the Dorians, who, coming in as a hardy but uncultivated race, probably of purer Aryan blood than the previous inhabitants of Greece, not only brought to an end the wealth and the luxury which marked the Mycenaean age, but also replaced an art which was in character essentially southern by one which belonged rather to the north and the west. The great difficulty inherent in this view, a difficulty which has yet to be met, lies in the fact that some of the most abundant and characteristic remains of the geometric age which we possess come, not from Peloponnesus, but from Athens and Boeotia, which were never conquered by the Dorians.
| Fig. 4.—Geometric Vase from Rhodes. (Ashmolean Museum.) |