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Rh Greek painting of the earlier ages was of extreme simplicity. It did not represent localities, save by some slight hint; it had next to no perspective; the colours used were but very few even down to the days of Apelles. Most of the great pictures of which we hear consisted of but one or two figures; and when several figures were introduced they were kept apart and separately treated, though, of course, not without relation to one another. Idealism and ethical purpose must have predominated in painting as in sculpture and in the drama and in the writing of history.

We will take from vases a few simple groups to illustrate the laws of Greek drawing; colouring we cannot illustrate.

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.

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 , and we stop with the Roman age of Greece, after which Greek art works in the service of the conquerors (see ). The period 800–50 we divide into four sections: (1) the period down to the Persian Wars, 800–480 ; (2) the period