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 Acropolis have proved the erroneousness of the view, strongly maintained by Brunn, that the mass of the black-figured vases were of a late and imitative fabric. We now know that, with a few exceptions, vases of this class are not later than the early part of the 5th century. The same excavations have also proved that red-figured vase-painting, that is, vase-painting in which the background was blocked out with black, and the figures left in the natural colour of the vase originated at Athens in the last quarter of the 6th century. We cannot here give a detailed account of the beautiful series of Athenian vases of this fabric. Many of the finest of them are in the British Museum. As an example, fig. 16 presents a group by the painter Pamphaeus, representing Heracles wrestling with the river-monster Achelous, which belongs to the age of the Persian Wars. The clear precision of the figures, the vigour of the grouping, the correctness of the anatomy and the delicacy of the lines are all marks of distinction. The student of art will perhaps find the nearest parallel to these vase-pictures in Japanese drawings. The Japanese artists are very inferior to the Greek in their love and understanding of the human body, but equal them in freshness and vigour of design. At the same time began the beautiful series of white vases made at Athens for the purpose of burial with the dead, and found in great quantities in the cemeteries of Athens, of Eretria, of Gela in Sicily, and of some other cities. They are well represented in the British Museum and that of Oxford.

We now return to the early years of the 6th century, and proceed to trace, by the aid of recent discoveries, the rise of architecture and sculpture. The Greek temple in its character and form gives the clue to the whole character of Greek art. It is the abode of the deity, who is represented by his sacred image; and the flat surfaces of the temple offer a great field to the sculptor for the depicting of sacred legend. The process of discovery has emphasized the line which divides Ionian from Dorian architecture and art. We will speak first of the temples and the sculpture of Ionia. The Ionians were a people far more susceptible than were the Dorians to oriental influences. The dress, the art, the luxury of western Asia attracted them with irresistible force. We may suspect, as Brunn has suggested, that Ionian artists worked in the great Assyrian and Persian palaces, and that the reliefs which adorn the walls of those palaces were in part their handiwork. Some of the great temples of Ionia have been excavated in recent years, notably those of Apollo at Miletus, of Hera at Samos, and of Artemis at Ephesus. Very little, however, of the architecture of the 6th-century temples of those sites has been recovered. Quite recently, however, the French excavators at Delphi have successfully restored the

treasury of the people of Cnidus, which is quite a gem of Ionic style, the entablature being supported in front not by pillars but by two maidens or Corae, and a frieze running all round the building above. But though this building is of Ionic type, it is scarcely in the technical sense of Ionic style, since the columns have not Ionic capitals, but are carved with curious reliefs. The Ionic capital proper is developed in Asia by degrees (see and ; also Perrot and Chipiez, Hist. de l’art, vii. ch. 4).

The Doric temple is not wholly of European origin. One of the earliest examples is the old temple of Assus in Troas. Yet it was developed mainly in Hellas and the west. The most ancient example is the Heraeum at Olympia, next to which come the fragmentary temples of Corinth and of Selinus in Sicily. With the early Doric temple we are familiar from examples which have survived in fair preservation to our own days at Agrigentum in Sicily, Paestum in Italy, and other sites.

Of the decorative sculpture which adorned these early temples we have more extensive remains than we have of actual construction. It will be best to speak of them under their districts. On the coast of Asia Minor, the most extensive series of archaic decorative sculptures which has come down to us is that which adorned the temple of Assus (fig. 18). These were placed in a unique position on the temple, a long frieze running along the entablature, with representations of wild animals, of centaurs, of Hercules seizing Achelous, and of men feasting, scene succeeding scene without much order or method. The only figures from Miletus which can be considered as belonging to the original temple destroyed by Darius, are the dedicated seated statues, some of which, brought away by Sir Charles Newton, are now preserved at the British Museum. At Ephesus Mr Wood has been more successful, and has recovered considerable fragments