Page:EB1911 - Volume 05.djvu/745

 made by Cachrylion, who stands on the verge of the succeeding stage.

The strong period centres round the name of Euphronius, the author of a really great artistic movement. His capacity for inventing new subjects or new poses—or otherwise overcoming technical and artistic difficulties—marks a great advance on all previous achievements, and he seems to represent the stage of development traditionally associated with the painter Cimon of Cleonae, the inventor of foreshortening and other novelties. Thus figures were no longer represented exclusively in profile, as in the black-figured vases which had made no advance beyond the conventions of Egyptian art. Ten vases signed by him are in existence (though it is not certain that all were actually painted by him), most of them having mythological subjects (fig. 28).

Of his contemporaries, Duris, Hieron and Brygus take foremost rank, all three being, like Euphronius, essentially cup-painters, though they use other forms at times. For decorative effect and beauty of composition their vases have never been surpassed. As an example we may quote a kotyle or beaker in the British Museum signed by Hieron, with a group of Eleusinian deities. The larger vases of this period are more rarely signed, but many of them rival the cups in execution, though the subjects are characterized by greater simplicity and largeness of style.

In the fine style (460–440 ) breadth of effect and dignity are aimed at, and although cup-painting had passed its zenith, and signed specimens become rarer, yet, considering the red-figured vases as a whole, this period exhibits the perfection of technique and drawing. In many of the larger vases the scenes are of a pictorial character, landscape being introduced, with figures ranged at different levels, and herein we may see a reflection of the style of the painter Polygnotus. One of the finest cups in this style is in the Berlin Museum, it is signed by the artists Erginus and Aristophanes, and the subject is the battle of the gods and giants. To the end of the period belongs a beautiful hydria in the British Museum by the painter Meidias with subjects from Greek legend in two friezes (fig. 29). Generally speaking, there is a reaction in favour of mythological subjects.

In the late fine style, which begins about 440, the pictorial effect is preserved, but with perfected skill in drawing the compositions deteriorate greatly in merit, and become at once over-refined and careless. The figures are crowded together without meaning or interest. The fashion also arose of enhancing the designs by means of accessory colours—almost unknown in the previous stages—such as white laid on in masses, blue and green, and even with gilding. Athletic and mythological subjects yield place to scenes from the life of women and children or meaningless groups of figures (fig. 30).

A good example of this style is an amphora from Rhodes with the subject of Peleus wooing Thetis, in which polychrome colouring and gilding are introduced. There are also many imposing and elaborate specimens found (and perhaps made) in the colonies of the Crimea and the Cyrenaica; in particular one signed by Xenophantus with the Persian king hunting, and another representing the contest of Athena and Poseidon for the soil of Attica, both from the Crimea.

Contemporary with the red-figure method is one in which the figures are painted on a white slip or engobe resembling pipe-clay, with which the whole surface was covered; the figures are drawn in outline in red or black, and partly filled in with washes of colour, chiefly red, purplish red, or brown, but sometimes also with blue or green. This style seems to have been popular about the middle of the 5th century and was employed for the funeral lekythoi which came into fashion at Athens about that time. These vases, which form a class by themselves, were made specially for funeral ceremonies and were painted with subjects relating to the tomb, such as the laying-out of the corpse on the bier, the ferrying of the dead over the Styx by Charon, or (most frequently) mourners bringing offerings to the tomb (fig. 31). They continued to be made well on into the 4th century, but the later examples are very degenerate and careless.

Of other forms, especially the kylix and the pyxis (toilet-box), some exceedingly beautiful specimens have come down to us, which show a delicacy of drawing and firmness of touch never surpassed, although the lines were probably only drawn with a brush. The technique of these vases may reflect the methods of the painter Polygnotus and his contemporaries, who used a