file which includes the original illustrations4 ,see #fajcd-;h4htm or #fajcd-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#fajcd_/pg#fajcd-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#fa jcd_/fajcd-;h4zip7 ,images of the original pages are available through ,internet ,archive4 ,see https3_/_/archive4org_/details_/dourispa intersof#jjpott ,,douris ,,and ,,the ,,painters ,,of ,,greek ,,vases ,illustration3 ,fig4 #a4 ,,kantharos ,,and ,,kylix 7,cup74 ,by ,douris4 ,brussels and ,louvre ,museums4 ,,douris ,,and ,,the ,,painters ,,of ,,greek ,,vases by ,,edmond ,,pottier ,membre de ,l',institut ,translated by ,bettina ,kahnweiler ,with a ,preface by ,jane ,ellen ,harrison ,hon4,d4,litt4,durham1 ,hon4,ll4,d4,aberdeen ,london ,john ,murray1 ,albemarle ,street1 ,w4 #aiji ,,dedicated ,,in ,,love ,,and ,,gratitude ,,to ,,august ,,lewis ,,preface ,the translator of ,m4 ,pottier's monograph on ,douris has kindly asked me to write1 by way of preface1 a few words on the relation of ,greek vase-painting to ,greek literature and to ,greek mythology4 ,i do this with the more pleasure because this relation has1 ,i think1 been somewhat seriously misunderstood1 and ,m4 ,pottier's delightful monograph which1 thanks to ,miss ,kahnweiler1 is now given to us in ,english form1 should do much to clear away misconception and to set the matter before us in a light at once juster and more vivid4 99 99 99 99 99 ,first let us consider for a moment the relation between ,greek art and ,greek literature4 ,in classical matters we are all of us1 scholars and students alike1 bred up in a tradition that is literary4 ,our earliest contact with the ,greek mind is through ,greek poets1 historians1 philosophers4 ,this is well1 for these remain--all said--the supreme revelation4 ,but this priority of literary contact begets1 almost inevitably1 a certain confusion of thought4 ,bred as we are in a literary tradition1 we come later to be confronted with other utterances of the ,greek mind1 for example graphic art--vase-painting4 ,this we naturally seek to relate to our earlier and purely literary conceptions4 ,what has come to us second we instinctively make subordinate1 ancillary4 ,greek art1 and especially what we call a 8minor art10 such as vase-painting1 is the 8hand-maid0 of ,greek poetry1 or1 to drop metaphor1 the function of ,greek art1 is1 we think1 to illustrate ,greek literature4 ,public and publisher alike demand nowadays that books on ,greek literature1 on ,greek mythology1 even editions of ,greek plays1 should be 8illustrated0 from ,greek art4 ,by illustration is meant translation1 the transference with the minimum of alteration of an idea expressed in one art into the medium of another4 ,were it possible in a work of art to separate the idea expressed from the form in which it is expressed1 such transference might be an eligible and even elegant pastime4 ,but every one knows that such separation of idea and form is in art impossible4 ,translation of poetry from one language to another is precarious1 a thing only to be attempted by a poet2 translation from one art to another is a task so inherently barren that the ,greek1 till his decadence1 left it1 instinctively1 unattempted4 ,against the poison of this 8illustration0 theory ,m4 ,pottier's monograph is the best antidote1 and all students of the ,greek mind will be grateful to ,miss ,kahnweiler for making his monograph more easily accessible4 ,m4 ,pottier focuses our attention on the personal artist1 a man not intent on 8illustrating0 another man's work1 but on producing works of art of his own4 ,douris uses sometimes the same material as ,homer or ,arktinos1 but he shapes it to his own decorative ends2 he draws his inspiration naturally and necessarily rather from graphic than from literary tradition4 99 99 99 99 99 ,beneath the 8illustration0 fallacy there lurks1 as regards mythology1 another and a subtler misconception4 ,until quite recent years mythology has been again to scholars and students alike1 a thing of 8mythological allusions10 a matter to be 8looked up0 with a view to the elucidation of obscure passages in ,pindar or dramatic choruses4 ,even nowadays mythology remains1 to many a well-furnished scholar1 a sort of by-product1 an elegant outgrowth of the ,greek mind1 a thing merely 8poetical10 by which he means having no touch with reality4 ,or1 at best1 if the scholar be himself a poet1 he loves mythology without analysing it1 he feels it as a dream that haunts1 a thing that attends and allures him through the waste places of scholarship1 more real and more abiding than any realism1 a thing to him so intimate that he does not ask the why of it4 ,thanks to the impact of another study1 anthropology1 we are awake now and look at mythology with other eyes4 ,we know that mythology is not a last1 lovely1 literary flower1 but a thing primitive1 deep-seated1 long antedating anything that can be called literature1 not a separate 8subject0 at all1 but rather a mode of thinking common at an early stage to all subjects4 ,mythology is not the outcome of an idle1 vagrant fancy1 but a necessary step in the evolution of human thought2 a strenuous step taken by man towards knowledge1 towards the fashioning and ordering of the world of mental conceptions4 ,mythology is the mother-earth out of which for the ,greeks grow those stately1 fruit-bearing trees1 literature1 art1 history1 philosophy4 ,a ,greek vase-painter does not 8illustrate0 mythology1 he utters it in line and colour as the poet utters it in words and rhythm4 ,take a simple instance from the work of ,douris1 the kylix in the ,louvre1 in the centre of which is painted ,eos carrying the body of ,memnon4 ,the mythologist1 that is man in his early days of thinking1 cannot conceive or name the abstract1 empty 8dawn40 ,the glow of morning is to him the print of unearthly yet human fingers4 ,he images 8dawn0 as 8,dawn10 in terms of humanity1 that is of the one and only thing he inwardly felt and knew--himself4 ,the dawn is for him a beautiful woman1 and to complete her humanity1 she is a mother4 ,literature1 which is at first but story-telling1 took up the tale1 and knew that ,eos the ,dawn who rose in the ,east had a child of the ,east for her son1 and mourned for him in his death1 and carried him away for his burial4 ,the vase-painter is a mythologist too1 and he takes a mythological story for his motive1 but his art has other ends than that of the poet4 ,he may have heard the story recited at a ,panathenaic festival1 just as he may have seen it painted on some ,stoa or ,lesche4 ,but he does not illustrate it1 does not translate from an alien art into his own4 ,he takes the myth and lets his own art say what it and only it can say4 ,he has seen in the human body the vision of a heavenly pattern2 he gives us the grace of a bending body1 the poise of a flying foot1 the swiftness of straight lines1 the majesty and poignancy of limbs stark in death4 ,that is all1 and1 surely1 enough4 ,,jane ,,ellen ,,harrison4 ,,contents ,,chap4 ,,page ,i4 ,,how ,,designs ,,on ,,vases ,,represent ,,the ,,history ,,of ,,greek ,,painting #a ,,ii4 ,,the ,,social ,,condition ,,of ,a ,,vase ,,painter ,,at ,,athens #i ,,iii4 ,,the ,,workshop ,,and ,,tools ,,of ,,douris #bc ,,iv4 ,,how ,,douris ,,worked #cj ,v4 ,,the ,,work ,,of ,,douris #dc ,,conclusion #hj ,,bibliography #hg ,,index #hi ,,list ,,of ,,illustrations ,fig4 ,page #a4 ,kantharos and ,kylix 7drinking cups7 by ,douris4 ,brussels and ,louvre ,museums4 ,taken from ,photographs ,frontispiece #b4 ,workshop of a ,vase ,painter 7red figured hydria in ,caputi ,collection at ,ruvo71 from ,blmner4 ,technologie und ,terminolog4 der ,gewerbe und ,knste1 ii41 p4 #he1 ,fig4 #ae #d #c4 ,the painter ,smikros and his companions 7red figured krater in the ,brussels ,museum71 from ,monuments et ,mmoires de la ,fondation ,piot 7article by ,c4 ,gaspari1 ix41 #aijb1 ,pl4 #b7 #h #d4 ,a ,potter's ,workshop2 modelling and baking of vases 7black-figured hydria1 ,munich ,museum71 from ,birch1 8,history of ,ancient ,pottery10 #aheh1 p4 #bdi #ab #e4 ,a display of ,vases and a purchaser 7red figured kylix painted by ,phintias1 ,baltimore ,museum74 ,hartwig's ,meisterschalen1 ,pl4 #ag #af #f4 ,youths exercising in the ,palstra 7red figured kylix by ,douris1 ,louvre ,museum71 from an original ,photograph #bj #g4 ,aphrodite upon her ,swan 7,polychrome on white background1 ,british ,museum71 from ,a4 ,murray and ,a4 ,smith1 8,white ,attic ,vases10 ,pl4 #ae #bd #h4 ,eos carrying ,memnon1 her dead son 7red figured kylix by ,douris1 ,louvre ,museum71 from an original ,photograph #bh #i4 ,contest of ,menelaos and ,paris 7exterior of preceding one71 from an original ,photograph #cb #aj4 ,contest of ,ajax and ,hector 7exterior of preceding one71 from an original ,photograph #cf #aa4 ,the ,adventures of ,theseus 7red figured kylix by ,douris1 ,british ,museum71 from ,e4 d',eichthal et ,th4 ,reinach ,pomes choisis de ,bacchylide1 p4 #dh #dj #ab4 ,theseus and ,kerkyon2 ,theseus and the ,marathonian bull 7reverse of red figured cup by the potter ,euphronios1 in the ,louvre ,museum7 taken from ,furtwngler ,reichhold ,griechische ,vasenmalerei1 ,pl4 #e #dd #ac4 ,nereids appealing to ,nereus and ,doris 7red figured cup by ,douris1 ,louvre ,museum71 taken from ,wiener ,vorlegebltten1 vii41 ,pl4 #b #dh #ad4 ,sileni playing and dancing 7red figured vase by ,douris1 ,british ,museum7 ,furtwngler ,reichhold ,griechische ,vasenmalerei1 ,pl4 #dh #eb #ae4 ,hera and ,iris attacked by ,sileni 7red figured cup by ,brygos1 ,british ,museum71 ,furtwngler ,reichhold ,griechische ,vasenmalerei1 ,pl4 #ag #ed #af4 ,contest of ,ajax and ,ulysses2 the voting of the ,greek ,chiefs 7red figured cup by ,douris1 ,vienna ,museum71 ,furtwngler ,reichhold ,griechische ,vasenmalerei1 ,pl4 #ed #ef #ag4 ,ulysses restoring the ,arms of ,achilles to ,neoptolemos 7interior of preceding one71 ,furtwngler ,reichhold ,griechische ,vasenmalerei1 ,pl4 #ed #fj #ah4 ,achilles killing ,trolos 7red figured cup by ,euphronios1 ,perugia ,museum7 taken from ,rayet et ,collignon1 ,cramique ,grecque1 ,fig4 #gj #fd #ai4 ,soldiers arming 7red figured cup by ,douris1 ,vienna ,museum71 ,furtwngler ,reichhold1 ,pl4 #ec #fh #bj4 ,greek ,hoplite and ,persian ,standard-bearer 7red figured cup by ,douris1 ,louvre ,museum71 ,wiener ,vorlegebltten1 vii41 ,pl4 #c4 ,great surface indicates restoration #gj #ba4 ,seated ,youth holding a ,hare 7red figured kylix by ,douris1 ,louvre ,museum71 from an original ,photograph #gb #bb4 ,interior of a ,school 7red figured kylix by ,douris1 ,berlin ,museum71 from ,monumenti dell' ,inst4 ,arch41 ix41 ,pl4 #ed #gf #bc4 ,a ,schoolmaster4 ,berlin ,museum1 from ,hartwig1 ,meisterschalen1 ,pl4 #df #hj #bd4 ,zeus carrying off a ,woman 7attributed to ,douris1 ,louvre ,museum71 from an original ,photograph #hd #be4 ,a ,painter at ,work 7fragment1 ,boston ,museum71 ,jahrbuch des ,arch4 ,instituts1 xiv41 #ahii1 ,pl4 #d1 ,hartwig #hf ,,douris ,,and ,,the ,,painters ,,of ,,greek ,,vases ,,chapter ,i ,,how ,,designs ,,on ,,vases ,,represent ,,the ,,history ,,of ,,greek ,,painting ,this book has not been written for the professional archologist4 ,while speaking of ,douris1 we propose to give the reading public an idea of the chief characteristics of ,greek painting4 ,it may be asked why the title of this little book is not ,polygnotos or ,parrhasios4 ,as we are treating of ancient painting1 why not choose as a study one of these famous men1 whose works give to the art of his time its distinctive character8 ,the answer is simple4 ,not a single painting is preserved by the masters who1 with the sculptors ,phidias1 ,polykleitos1 ,praxiteles1 and ,lysippos1 made the ages of ,pericles and ,alexander illustrious4 ,not a fragment of their paintings nor a piece of their frescoes has escaped destruction4 ,unfortunate chance has thus kept the most glorious period of ,greek painting hidden from our view4 ,recent discoveries in ,mycen1 ,tiryns1 ,crete1 and ,melos have revealed astonishing works of the pre-,hellenic age1 and they have restored to us frescoes contemporary with ,minos and ,agamemnon4 ,and for more than a century the excavations at ,pompeii and ,herculaneum have made known all the details of the decoration of ,roman houses at the time of ,augustus and ,titus4 ,but between these two periods--separated by fifteen or twenty centuries--all is obscurity1--a dark gap which a few marble panels in the museum of ,athens are quite insufficient to cover4 ,these pale remnants of funereal monuments from the ,kerameikos1 frescoes painted on marble1 reproduced the life and likeness of the departed4 ,literature still remains4 ,pausanias1 ,pliny1 ,lucian1 and others have enumerated and described the celebrated works of ancient painting1 and indicated the chief characteristics of the great masters4 ,in certain passages even the technique is mentioned and analysed4 ,with the help of this literature we can1 in a general way1 trace the history of ,greek painting1 and it is chiefly from these records that such classic books have been written as ,brunn's ,geschichte der ,knstler and ,woltmann's ,geschichte der ,malerei4 ,for gaining a thorough knowledge of the data of the subject1 the great value of these books is unquestionable4 ,but there is no doubt that a history compiled from texts becomes excessively dry1 even though illustrations are borrowed from ,pompeii and ,herculaneum4 ,what impression would any one who had never seen a painting by ,raphael or ,michelangelo receive by merely reading about them8 ,furthermore1 many ancient authors1 far from being accurate or full in their information1 are hopelessly brief2 often the subject of a painting and the name of its author are mentioned in but three words4 ,let us suppose that two thousand years hence our descendants should find a guide-book and read1 8,the ,sacred ,grove of the ,muses1 by ,puvis de ,chavannes40 ,what conclusions could they draw in regard to the composition of the painting or the talent of its author8 ,such is our position in regard to many works of antiquity4 ,even if1 as is sometimes the case1 the descriptions are full1 as in a passage where ,pausanias enumerates all the persons in the two frescoes of ,polygnotos at ,delphi1 ,the ,visit to ,hades and ,the ,capture of ,troy1 the same darkness still exists as to the placing of the figures1 their expression1 their attitude1 and the technique of the colouring4 ,thanks to the study devoted to painted vases1 we are now able to get a better idea of and throw a little more light on the style and composition of ,greek painting4 ,m4 ,paul ,girard's book1 ,la ,peinture ,antique is an instance4 ,nearly all the illustrations in the chapters devoted to classic ,greece are taken from the decoration of vases4 ,to return to a comparison made above4 ,one who knew nothing of ,raphael's work1 but who had seen some faence of ,urbino reproducing certain works of the time1 would in every way be more capable than those who had not of understanding the master's composition and his style4 ,he would undoubtedly still lose many things4 ,he never would realise the harmony of his colours or the loftiness and purity of his designs4 ,this is1 alas6 what we must say1 in comparing the painting of a ,greek vase with the lost paintings of ,polygnotos or ,zeuxis4 ,the reflection of a lost art is all that remains to us6 ,illustration3 ,fig4 #b4 ,,the ,,workshop ,,of ,a ,,vase ,,painter4 ,caputi ,collection1 ,ruvo4 ,we should add1 however1 that the distinction between ,greek manufacturers and their models must have been less marked than in later ages4 ,of this we cannot give material proof1 but from certain details we arrive at this conclusion4 ,on the one hand1 the ,attic craftsman was endowed1 as rarely any one has been1 with the art of design and the sense of style4 ,on the other hand1 the ancient fresco1 particularly of the fifth century1 was only drawing in flat colours1 without shading or modelling4 ,hence1 there did not exist the gulf which in modern times separates a reproduction due to mechanical means from a painting executed with all the fine shades and skilful distinctions of chiaro oscuro4 ,in ,greece1 a painter of frescoes or a painter of vases was above all things a good draughtsman4 ,here is a common measure which reduces the distance between them4 ,in the absence of original paintings we must descend a step and have recourse to the vase industry1 and thus discover dimly the nature of pictorial art in the best times of classic ,greece4 ,but here another question arises4 ,in treating of ,greek ceramics1 is the name of ,douris the most important one among the many artists presenting themselves to our mind8 ,he formed one of the ,pleades1 who1 between the expulsion of the tyrant ,hippias 7#eaj ,b4,c47 and the ,persian wars 7#dij-dgi ,b4,c471 brought the manufacture of ,athenian pottery to its culminating point4 ,his rivals ,euphronios and ,brygos have1 however1 been considered more skilled or more inspired in their work4 ,why then choose ,douris as the most representative type of ,greek painting8 ,this is the reason4 ,we know at present about one hundred names of manufacturers and painters of vases4 ,those who during the best period have left the greatest number of works are ,euphronios1 ,douris1 ,hieron1 and ,brygos4 ,leaving aside simple fragments1 and only counting pieces helpful for serious study1 we possess of the first-named ten signed works1 of the third twenty1 of the fourth eight4 ,of ,douris twenty-eight are known4 ,the greater number alone would justify our choice4 ,but another and more important consideration may be added to the former4 ,manufacturers of vases have different trademarks for their ware4 ,they trace their name with a paint-brush on the body of the vase1 or else incise it in fine letters on the foot or handle4 ,the mode in which their name occurs varies3 8,so-and-so made10 or else 8,so-and-so painted40 ,there can be no uncertainty as to the latter phrase2 it refers to the artist who executed the paintings decorating the vase4 ,but this term is far less frequent than the former1 which has caused many discussions4 8,so-and-so made08 ,is it a more elliptical way of implying the designer1 or is it the potter who speaks in contrast to the painter and designer8 ,or1 again1 did the same man make the vase and then paint it8 ,is it the master1 the overseer who directs the entire manufacture1 and who1 after the different processes of modelling1 of decoration1 and of baking have been executed under his direction and according to his plans1 affixes to the ware of his house a sort of commercial trade-mark8 ,all these opinions have been supported at different times4 ,we cannot say that the subject has been fully elucidated4 ,in consequence we run a great risk of mistake in saying that a painting is a certain potter's workmanship1 when the vase does not explicitly state who painted it4 ,the inevitable conclusion remains2 to argue with certainty about painters of vases we can only trust one expression3 8,so-and-so painted40 ,in the most prominent group of potters of the fifth century1 it is ,douris who best fulfils all these conditions1 and relieves us of all uncertainties on this subject4 ,he is a craftsman1 and can make a pot or have one made under his direction4 ,the museum at ,brussels possesses a kantharos which 8,douris made0 7,fig4 #a74 ,but he is above all a draughtsman and executes all his paintings himself1 for the twenty-eight examples mentioned1 including the kantharos at ,brussels1 bear the words1 8,douris painted40 ,even ,euphronios1 to whom ,klein devoted an entire book1 making this artist famous--and who to many represents the vase painter par excellence--only signed as draughtsman three or four vases1 and as craftsman seven4 ,as potter and painter1 ,douris fulfils the necessary qualifications of a master-craftsman2 above all as draughtsman and painter1 he satisfies most fully our desire of finding in the decoration of painted vases a reflection of the great contemporary art4 ,this is why the choice of his name seemed to us imperative4 ,illustration3 ,fig4 #c4 ,,the ,,painter ,,smikros ,,and ,,his ,,companions4 ,krater in the ,brussels ,museum4 ,,chapter ,,ii ,,the ,,social ,,condition ,,of ,a ,,vase ,,painter ,,at ,,athens ,a biography of ,douris must not be expected4 ,no classical writer has honoured one of these potters even so far as to mention his name4 ,ancient literature has only left some brief allusions to the craft1 some inscriptions recalling their dedications in sanctuaries4 ,the vases themselves and the inscriptions traced thereon form the clearest testimony we possess4 ,here again we must be guided by discretion and not drift into romance4 ,a learned ,german assumes that ,euthymides1 a celebrated potter of the fifth century and a contemporary of ,douris1 must have died young1 while his rival ,euphronios1 after a long career1 died at an advanced age4 ,he quite forgets that the number of signed vases to be attributed to any individual artist is liable to be diminished or increased by a chance discovery1 and that we are still far from being able to survey at a glance the complete production of a manufacturer4 ,euthymides may have produced far more than ,euphronios2 we have1 however1 only recovered seven of his vases4 ,an enquiry into the lives of vase painters must be confined to a consideration of the general conditions of their position4 ,all inference as to special facts is necessarily conjectural and fictitious4 ,modern historians have made known to us this important fact3 trade in ,athens1 as in other ,greek cities1 was chiefly in the hands of those called 8,metics10 that is to say1 strangers living in the city and given certain political rights regulated by special laws4 ,athens possessed laws most favourable to the metics1 and from the time of ,solon1 according to ,plutarch1 strangers crowded into this generous city1 which offered such obvious advantages to settlers4 ,during the time of the ,peloponnesian war 7#dca ,b4,c47 the number of metics had increased to #if1jjj1 as compared with #abj1jjj citizens--an enormous proportion4 ,it is therefore to be supposed that many manufacturers at the beginning of the fifth century were aliens or descended from foreign families4 ,this hypothesis is confirmed by the potters' names1 many of which are foreign3 ,skythes 7the ,scythian71 ,lydos 7the ,lydian71 ,amasis 7name of an ,egyptian ,pharaoh of the sixth century71 ,kolchos 7inhabitant of ,colchis71 ,thrax 7of ,thrace71 ,sikanos and ,sikelos 7the ,sicilian71 ,brygos 7name of a ,macedonian or ,illyrian people71 etc4 ,beside these1 however1 we meet with many purely ,greek or ,attic names--,klitias1 ,ergotimos1 ,nikosthenes1 ,epiktetos1 ,pamphaios1 ,euphronios1 ,hieron1 ,megakles1 and others4 ,in certain cases1 the craftsman's patronymic follows1 as ,kleomenes1 son of ,nikias2 ,euthymedes1 son of ,polios4 ,this indicates a freeman and citizen of ,athens4 ,once we even find the deme mentioned3 ,nikias1 son of ,hermokles1 of the deme ,anaphlystos4 ,we here catch a glimpse of a society where the actual citizen associates freely with many naturalised aliens4 ,it is probable that slaves or freedmen were also employed1 as one may guess from the following nicknames3 ,paidikos 7beautiful child71 ,smikros 7the little one71 ,mys 7the rat74 ,douris' name does not appear to be ,attic4 ,it is always written ,doris on vases1 but we know that in those times the diphthong ou was simply expressed by o4 ,the name ,doris does not exist in the catalogue of men's names which has come down to us1 while the name ,douris is well-known4 ,it may have been of ,ionian origin4 ,to resume1 the ,kerameikos of ,athens formed a district by itself1 a little world where all sorts of people belonging to different races and societies jostled one another4 ,the master was the manager of the factory and a craftsman1 capable of making a vase as well as painting it1 designing the forms1 the ornaments1 and the subjects4 ,his assistants1 who were sometimes allowed the honour of signing1 were employed under his direction in the shaping and decorating of pottery2 even women took part in this work1 as we see on a beautiful vase-painting 7,fig4 #b7 to be described later4 ,lastly1 there were the workmen engaged in working the clay1 preparing the glaze and the colours1 taking care of the ovens1 moving materials1 etc4 ,comparing the arrangements in a modern ceramic factory1 one will find about the same conditions and these three grades of workers4 ,illustration3 ,fig4 #d4 ,a ,,potter',s ,,workshop4 ,,modelling ,,and ,,baking ,,of ,,vases4 ,hydria4 ,munich ,museum4 ,we must naturally picture things in ,greece on a modest scale3 the enterprise conducted at less expense than nowadays1 the capital smaller1 and the staff reduced to those strictly required4 ,above all1 it is necessary to remember that the division of labour was far less marked in ancient times than with us4 ,the same man was capable of different tasks1 he was employed according to his ability and intelligence4 ,there was nothing of the mechanical spirit1 which nowadays has passed into the man from the machine1 and1 for the sake of greater speed and precision1 isolates a workman in a corner of the factory without teaching him anything else4 ,undoubtedly a social hierarchy existed and weighed heavily upon the individual2 to be citizen1 metic1 or slave implied profoundly different conditions of life1 which raised more formidable barriers between classes than with us4 ,but in the exercise of art or industry the life of the ancients presents itself under a singularly democratic aspect4 ,their workmen shared their mental work far more than ours do1 and were familiar with all the details of the craft4 ,this it is which gives to the industrial art of the ,greeks a marked distinction4 ,no matter how modest the work1 one feels a living intelligence therein4 ,the history of vases is most suggestive in this respect4 ,we never find the stiffness of mechanical labour1 the monotony of copy repeated to satiety4 ,all are not masterpieces--far from it4 ,but not one is quite devoid of individuality1 and the best proof that can be given is that two painted ,greek vases exactly identical do not exist4 ,whether ,douris was metic or citizen1 we may think of him as a craftsman1 who by his knowledge and skill had acquired an important position in the town1 and directed one of these flourishing establishments in the potters' quarter1 near the ,dipylon ,gate1 and just at the entrance to the ,necropolis4 ,his ware helped to carry the fame of ,attic taste into distant lands4 ,we know that the majority of ,greek vases have been gathered from ,etruscan tombs1 where they formed the personal property of the dead after having been used by families at banquets and at religious ceremonies4 ,similar finds have been made in many other sites of the ancient world3 in the islands of ,sicily1 ,rhodes1 ,melos2 on the coast of ,africa1 in ,cyrenaica2 in the ,thracian ,chersonese1 even as far as the ,crimea4 ,but nowhere have the finds been richer than in ,etruria2 this was the favourite market for ,attic ware during the sixth and the greater part of the fifth century4 ,after the disastrous war in ,sicily1 when communication with the ,tyrrhenian ,sea was severed1 they turned to southern ,italy1 the ,islands1 ,africa1 and the ,scythian colonies4 ,the trade in vases was not limited to the home market1 to the customers of ,athens and the neighbourhood4 ,the most important and most thriving part of the industry was the export into foreign countries4 ,what we to-day term l'article de ,paris scattered over all the world somewhat recalls the favour enjoyed by ,attic productions in that age4 ,great profits must have been realised4 ,this trade was again combined with other important exports4 ,it would be an error to consider the painted vase as a curio simply made for the pleasure of the eyes of the collector or artist1 like the porcelain of ,china and of ,japan to-day4 ,the ,greeks had no bric--brac4 ,we may even say that there were no art amateurs or collectors4 ,utility was the only foundation of art3 it formed its health and strength4 ,we do not believe a statue was ever made1 even in the fifth century1 simply for the pleasure of creating a beautiful piece of work4 ,each art object had a practical purpose1 and only existed by virtue of a want3 offerings to the gods1 consecrations after victories1 household utensils1 votive offerings at the altar and the tomb4 ,it follows that industrial art was still more intimately connected with practical needs4 ,the amphora1 which appears as a speciality of ,athens in the ceramic industry1 contained the famous oil gathered in the plain--to-day still famous for its olive groves--or wine from ,parnes4 ,we know positively that the ,panathenaic amphor given as prizes at the feasts in honour of ,athene contained the savoury oil produced by the sacred plants of the goddess4 ,victors carried these to their homes as trophies4 ,there is no reason to believe that other vases were treated differently4 ,why should the painted amphor1 such as are found from the sixth century onwards in great numbers in ,etruscan tombs1 be sent forth empty from the workshops of ,corinth1 ,chalkis1 or ,athens8 ,they certainly once contained a product prized by the inhabitants of ,caere and ,volsinii more than the beauty of the painting on their exterior4 ,in consequence of this beautiful decoration1 which was a sort of trade-mark of ,greek produce1 rich families in ,italy ordered entire 8table services0 from ,athens for special use at banquets and religious festivals4 ,they not only comprised receptacles for oil and wine--amphor1 krateres1 lekythoi1 decanters for wine as the oinochoai1 holders of water as the hydria--but also vases for drinking1 such as the kylix1 the kantharos1 and the skyphos1 and even plates and platters4 ,from the fifth century onwards ,athens had succeeded in destroying all competition4 ,she had become the unique centre of this trade4 ,the character of the art then obtained decisive importance4 ,illustration3 ,fig4 #e4 ,a ,,display ,,of ,,vases ,,and ,a ,,purchaser4 ,kylix by ,phintias4 ,baltimore ,museum4 ,the manufacture of the kylix--which was essentially the instrument of joy and gaiety1 passing at banquets from hand to hand and admired by every one as it passed--received an impetus until then unknown4 ,hence it was in consequence of being in close connection with the export trade and with the two other great industries of wine and oil that the ceramic art of ,athens developed so extraordinarily4 ,the manufacturers must frequently have made large fortunes4 ,historians tell us that the great fortunes in ,athens were in the hands of the metics4 ,it is not astonishing to hear of rich offerings being made on the ,acropolis by manufacturers1 some of whom were potters4 ,on the pedestal of an offering we read the name of the potter ,euphronios4 ,a votive stele1 in a style of delicate archaism1 represents in bas-relief a manufacturer of vases seated1 holding two drinking cups in one hand4 ,unfortunately a great part of the inscription is effaced1 but one can still distinguish the end of a name 8,,ios0 which might be ,euphronios4 ,the style of the sculpture and the accepted date of the ceramist would agree4 ,the most beautiful archaic statue found on the ,acropolis is signed by one of the greatest sculptors of the fourth century1 ,antenor1 and bears a dedication made by a certain ,nearchos1 who might be a maker of black-figured vases--one of which is preserved4 ,this identification is unfortunately not certain1 but is admitted by several archologists1 and implies nothing improbable4 ,if one could definitely prove that the potter ,nearchos had ordered1 of a famous sculptor1 an important work for an offering to the goddess ,athene as a tithe of his gains1 we should possess most important evidence as to the social and pecuniary condition of craftsmen4 ,another curious record of the mode of life led by certain potters is given on a vase in the ,museum at ,brussels4 ,a painter has painted his own portrait in the features of a young man at a banquet leaning on a couch1 feasting in the gay company of friends and hetairai 7,fig4 #c74 ,he is a contemporary of ,douris named ,smikros4 ,one day1 his purse being well filled in consequence of good orders1 he and some companions of the studio indulged in the pleasures the city yielded4 ,if1 by such information we may consider the pecuniary position of potters as fairly good1 shall we conclude that their education was equal to that of the best ,athenian society8 ,here it may be well to enter a protest against the commonly accepted opinion4 ,vase painters are usually credited with qualities of originality amounting to positive genius4 ,the merit of the composition and of the choice of subject1 the skill in placing the figures1 the invention of attitude and movement1 are all attributed to them4 ,hartwig1 an author who has closely studied the ,greek drinking cups of the fifth century1 goes so far in his admiration as to reject as fanciful any connection between the works of this industry and the great works of contemporary art4 ,he grants that vase painters copy one another1 and that they borrow mutually subjects for designs and even persons4 ,but he maintains that their province remains indisputedly theirs1 and one need not look for copies from celebrated works in their art4 ,this opinion appears1 like many others1 to contain a truth and an error4 ,it is quite true1 that to look for a commonplace reproduction of great art upon painted vases would be useless4 ,many subjects are strictly designed for the express purpose of the vase1 for the form of its surface1 and are drawn from scenes of everyday life which were constantly under the draughtsman's eyes1 scenes of the palstra1 of banquets1 military armaments1 processions of cavalry1 etc4 ,who could imagine a ,greek draughtsman not copying ,nature8 ,but1 on the other hand1 how can one think of an artisan as skilled as an ,athenian ceramist1 who could remain indifferent to the lessons of the great masters8 ,would not his eyes and brain be filled with the works of art which made all public buildings and sanctuaries museums in the open air8 ,and in that case1 what strange rule would forbid him to borrow many of the subjects and persons from these superior models8 ,these would be abstracts1 free compositions1 adaptations1 but nevertheless a borrowing4 ,illustration3 ,fig4 #f4 ,,youths ,,exercising ,,in ,,the ,,pal,,stra4 ,kylix by ,douris4 ,louvre ,museum4 ,furthermore1 what we have just said of vase manufacturers places them in a popular class whose members did not shine by education4 ,merchants of free status1 metics1 freedmen or slaves could not form a society comparable to the one in which lived a ,polygnotos or a ,phidias4 ,isocrates says scornfully3 8,who would dare compare ,phidias to a maker of terracottas1 or ,zeuxis and ,parrhasios to a painter of votive offerings80 ,he would undoubtedly have said the same of vase painters4 ,we affirm1 in fact1 that many of these workers were quite illiterate2 some were content simply to trace sham letters or letters in juxtaposition1 without any meaning1 in the place of the usual inscription4 ,many made gross mistakes1 or mixed the dialect of their own country with that of ,athens4 ,some did not even know how to spell the name of the potter for whom they were working1 but wrote it in three or four different ways4 ,these little facts help to illustrate the inferior condition of this society4 ,to look here for great artists1 philosophers or thinkers1 rivals of ,pindar and schylus1 of ,phidias and ,polygnotos1 would be contrary to all likelihood4 ,if ,euphronios1 ,douris or ,brygos had genius1 it was entirely in their province as skilled draughtsmen1 guided and influenced by beautiful models1 besides being business men and prudent merchants4 ,the idea of raising such men to the height of creators and inventors would certainly have greatly astonished the ,athenians4 ,to sum up1 ,nature and living truth--the works of great masters and the teachings of the past--these form the double source from which all artists1 at all times1 have drawn4 ,it would seem difficult to exclude from one or the other the painters of ,greek vases4 ,on the contrary1 in studying them we feel1 although their social position is humble1 and their private education mediocre1 that they are peculiarly great1 inasmuch as their artistic sense is always alert1 always emulous of competitors or works of art about them1 and1 finally1 great in that dominant quality which the ,greek carries within him--a keen sensitiveness to all that is beautiful in life4 ,as artisans1 craftsmen1 merchants and metics1 they move in a lower sphere in their city2 but nothing shows more clearly the power of the environment than seeing in ,athens1 which had become the spiritual centre of ,greece1 the working man's world raising itself without effort from its dead level to the intellectual life of the higher classes3 a phenomenon all the more remarkable as it occurred in an ancient society1 that is to say1 in an era when the social barriers were inflexibly rigid4 ,may modern democracies be inspired by this example and understand that the education of the masses comes from the highly-gifted1 and the masses will never be high-minded when those whom fortune has placed above them are worthless4 ,,chapter ,,iii ,,the ,,workshop ,,and ,,tools ,,of ,,douris ,we must regard ,douris from two points of view3 the craftsman and the artist4 ,let us first see what his workshop was like4 ,again1 all the documents we possess are the vases themselves1 or terracotta tablets which served as votive offerings4 ,we see upon them workmen in the act of turning or painting pots1 lighted ovens1 pottery exposed for sale1 etc4 ,upon a black-figured hydria at ,munich 7,fig4 #d7 we see such an establishment divided into two parts3 to the left is the workshop where the turning1 shaping and polishing of vases takes place2 to the right1 under the supervision of an aged man1 who apparently is the master1 are other workmen carrying finished pots to dry and bake them4 ,in the extreme corner is the high oven decorated with a ,silenus mask4 ,here1 a vase from ,ruvo 7,fig4 #b7 takes us to a painter's studio4 ,three painters1 each grasping a brush1 are decorating the body and neck of two krateres and one kantharos1 while other vases on the ground are awaiting their turn4 ,to the right1 on a platform1 a woman is painting the handle of a larger krater2 above her some small pots are leaning against the wall4 ,the composition is ingeniously completed by the appearance of two ,victories and ,athene armed with helmet and lance1 who solemnly crown the workmen bending over their work--a poetic symbol to glorify the fame of ,athenian industry4 ,the act of painting is illustrated upon some vase fragments1 where we see the artist working with a very finely-pointed brush 7,fig4 #be74 ,lastly1 some ,corinthian platters show us workmen turning vases and watching the baking1 and the kiln filled with piles of pottery4 ,one even represents a merchant ship with a cargo of pottery1 oinochoai or small perfume bottles1 destined for some land across the sea4 ,we will mention one other kylix by the painter ,phintias1 upon which are displayed a potter's wares4 ,a number of vases are placed on the ground1 and a youth with a purse in his hand is stooping in the act of choosing his purchase 7,fig4 #e74 ,illustration3 ,fig4 #g4 ,,aphrodite ,,upon ,,her ,,swan4 ,white background4 ,british ,museum4 ,all these scenes are small genre pictures like ,the ,barbers or ,the ,lace ,makers of ,holland and ,flanders in the seventeenth century4 ,they teach us the chief characteristics of the ceramic art4 ,an establishment of this kind implies several buildings4 ,the vase turners or makers would be in a separate room from the painters4 ,one or more ovens would be required in a court1 with a shed for the storage of raw materials1 and for kneading and refining the clay4 ,lastly1 we must assume that there were some rooms for warehousing and a sale-room adjoining the factory1 in addition to rooms for the masters and night-watchmen4 ,no matter how modest the staff1 it would amount to fifteen or twenty persons1 counting not only those in charge of the factory1 but labourers and stokers4 ,upon the hydria at ,munich 7,fig4 #d71 in a painting necessarily restricted1 we can count eight persons4 ,upon the vase from ,ruvo 7,fig4 #b7 the studio contains four workers--three men and one woman--all painting4 ,to obtain a correct idea of the staff one must at least treble this number4 ,hence a potter like ,douris must have superintended a factory representing a commercial enterprise of some importance4 ,we must not think of an artist1 who1 in his solitary studio1 at his leisure and according to his inspiration1 sketches subjects or forms for vases1 and leaves the execution to others4 ,we must not forget it is an industry4 ,this practical purpose must profoundly influence one's opinions as to the nature of the potter's studies1 his manner of composing1 and the profit he expects from his enterprise4 ,we will not discuss points of technique which demand too detailed an enquiry1 and would raise questions not yet solved4 ,let us think of the materials as gathered in the hands of the craftsman3 clay carefully chosen and refined1 colours for glazing and retouching1 lustres intended to brighten the natural colour of the clay1 and the black for the design1 wheels and moulds1 rules and compass1 sharp points for sketching1 brushes of all kinds1 etc4 ,the most commonly used and most valuable ingredient is the black glaze1 the composition of which is still unknown2 its basis is oxide of iron4 ,it is used for drawings on red clay1 to trace features1 persons1 accessories and decorations1 and to cover the background4 ,it is to the ,greek what ,indian ink is to the draughtsman of ,japan4 ,in baking1 it takes on a warm1 velvety tone1 sometimes a little olive1 sometimes it becomes in the flames a little yellow or red4 ,it is brightened by a brilliant lustre which frequently produces the effect of a mirror1 but it never has the cold or waxy tone which disfigures modern imitations of antique vases4 ,it is thick and rich1 and forms1 after drying1 a slight prominence perceptible to the finger4 ,lastly1 it is indestructible1 even by acids1 and does not change with time1 unless the surface of the clay beneath it has been touched by damp1 in which case it flakes off4 ,the invention of this black was one of the most beautiful discoveries in ancient industry4 ,if we could only discover its formula it would still be of the greatest importance4 ,it was in use from the time of the ,mycenan age1 that is to say1 more than a thousand years before our era2 eventually potters brought it to perfection1 increasing its delicacy1 thickness and brilliancy4 ,about the time of ,douris it had reached its perfection and retained its excellence until the end of the fifth century4 ,after the capture of ,athens and the ruin of the potters' workshops1 the recipe was lost or the manufacture of it became neglected1 for vases of the fourth century1 found in ,botia and in ,southern ,italy1 show a great deterioration in this respect4 ,next to the black1 his brush is of the greatest importance to the ,athenian artist4 ,its nature has been much discussed4 ,in some of the illustrations cited1 we see it in the hands of workmen while drawing 7,figs4 #b and #be74 ,it consists of a thin handle1 doubtless of wood1 to which is joined a long and thin point4 ,some suppose it to be the barbule of a bird's feather2 the feathers of the woodcock are particularly suitable for very delicate lines4 ,in the opinion of others it is merely a hog's bristle4 ,the brushes vary in thickness according to the number and stoutness of the bristles employed4 ,the ,greeks must have been able to paint with one single bristle1 a method requiring great patience and special skill in loading the brush with paint and guiding it on the clay2 but in this manner particularly delicate lines of even strength from end to end can be obtained4 ,experiments have been made with ordinary paint1 proving this conclusively4 ,of course the painter must have had thicker brushes at his disposal with which to trace heavier outlines4 ,the background had to be put in with heavy and broad brushes4 ,but the fine brush is the tool above all others with which the ,greek draughtsman accomplished wonderful feats1 placing lines of extraordinary delicacy side by side1 or throwing out a line at a single stroke1 the impeccable straightness of which delights and surprises the eye4 ,we have reason to believe that it was not a tool for craftsmen only4 ,painters of frescoes and large paintings had the same difficulties to contend with1 if we are to give credence to an anecdote by ,pliny3 for ,apelles and ,protogenes competed who should draw the most perfect and finest line4 ,illustration3 ,fig4 #h4 ,,eos ,,carrying ,,memnon1 ,,her ,,dead ,,son4 ,kylix by ,douris4 ,louvre ,museum4 ,,chapter ,,iv ,,how ,,douris ,,worked ,let us now watch the craftsman at work4 ,we have said that ,douris was a potter1 but that usually he left to others the care of making vases according to well-known models1 and reserved to himself the task of decoration4 ,in what then does his character of painter consist8 ,first he must decide on the subject4 ,the ,greeks tried1 as much as possible1 to adapt the design to the purpose of the vase4 ,an amphora or a krater would not usually have the same design as a kylix4 ,there were no rules on the subject1 and the utmost liberty was given the artist4 ,nevertheless1 we notice that grave subjects and personages in attitudes of repose are given the preference on large vases1 which had stable bases and were rarely moved1 as harmonizing best with their broad surface and vertical lines4 ,animated or everyday subjects are better adapted to the horizontal sides of a kylix1 which circulated freely in the hands of guests4 ,for the same reason1 we may say that the painting of large vases remained essentially conservative1 more attached to ancient methods and subjects1 while the painting of the kylix constantly called forth new ideas3 hence its great importance in the fifth century4 ,certain archologists claim to have discovered two distinct branches in the industry--but that is an error4 ,the same distinguished artists produced the large krater and the kylix1 as for example ,euphronios4 ,but it would be more correct to distinguish two schools side by side1 and those artists who by preference decorated the kylix were more 8progressive40 ,douris is of this number1 if not in style1 at least in the choice of his subjects4 ,he tries to create new designs2 he draws from daily life1 banquet scenes1 dancing scenes1 scenes from the palstra 7,fig4 #f71 amorous scenes--well adapted for a drinking cup4 ,on the other hand1 if he approaches heroic or mythical compositions1 he makes use of the opportunity to draw beautiful bodies in motion1 rape or battle episodes3 ,the ,nereids flying from ,peleus 7,fig4 #ac72 ,theseus killing the ,minotaur and ,attic robbers 7,fig4 #aa72 or the battles of heroes in ,homer1 as those of ,menelaos and ,paris or ,ajax and ,hector 7,figs4 #i and #aj74 ,at other times1 we find allusions to recent glorious events which had taken place in ,greece1 a ,greek soldier striking down a ,persian 7,fig4 #bj71 ,hoplites and ,asiatic archers at close quarters4 ,he belonged to that group of artists who are always looking for action1 for the new and the modern4 ,after what originals did the painter compose8 ,we are quite ignorant here1 and cannot specify without falling into fiction and hypothesis4 ,were there sketch books1 representing the individual observations of the artist1 taken from ,nature or from great contemporary works8 ,or did 1 tablets of wood or panels of terracotta1 serve for preliminary sketches8 ,did a painter1 as it were1 design a 8model0 which he transferred to clay or gave to his workmen as a theme to work upon8 ,all these questions remain unanswered4 ,one is forced to surmise that the master signed only works on which he himself had worked1 those which he designed and circulated as his latest productions1 the editio princeps1 so to speak1 inscribed with his signature4 ,but when a subject once composed was repeated in the workshop1 copied with slight variations by workmen1 the pottery1 no matter what its commercial value1 was no longer entitled to this personal certificate4 ,illustration3 ,fig4 #i4 ,,contest ,,of ,,menelaos ,,and ,,paris4 ,exterior of preceding ,cup4 ,subjects thus composed with free repetition must be very numerous1 for there is1 as it were1 a strong family likeness among many of them3 battle scenes1 banquets1 gatherings of youths1 games in the palstra4 ,another important fact1 must be stated1 no obstacle was placed against plagiarism in ancient times2 on the contrary1 it was the spirit and essence of industrial art4 ,we have proof of this in the terracottas as well as in the vases4 ,every one copies or imitates his neighbour4 ,there is no copyright or patent for artistic property1 an idea which has become the subject of legislation only in modern times4 ,considering the communistic way in which these ,greek craftsmen lived1 at a time when production was so intense1 and the personal reputation of a potter might prove so great a factor in his fortune1 we can readily understand how any man may have been led to protect himself against plagiarism by means of a signature which authenticated a production4 ,a krater by ,euphronios1 a kylix by ,douris or ,brygos1 might be particularly sought after by certain customers in ,greece and ,etruria4 ,why should they not be assured that they had in their hands an original work of a great master1 and not a copy made by workmen or competitors8 ,have we not clocks signed by ,boulle1 and chests of drawers by ,riesener1 which are thus distinguished from similar objects1 sometimes very beautiful1 but which1 without a trade-mark1 do not represent original work8 ,such then is the sense in which we should understand the signature of a vase by ,douris4 ,he sought1 devised and composed the design4 ,and even more1 his own hands carried out the painting4 ,let us now reflect upon the material side of the painter's trade4 ,the artist begins with a simple sketch made by means of a hard point1 it may simply be the sharpened end of a bit of wood1 which scratches the unbaked clay1 leaving decided traces after the final painting1 baking and glazing4 ,there is hardly a beautiful vase of this period1 signed or not1 which does not show these traces4 ,this sketch sufficiently proves the absolute independence of the worker in regard to his model1 and contradicts the opinion of those who maintain that the transfer was made with compasses4 ,on the contrary1 one feels how free the work is1 and that the arrangement was invented entirely to suit the object decorated4 ,and what enables us to follow the method of sketching still more closely1 is the fact that the stroke of the brush1 coming after1 has not always exactly followed its lines4 ,there have been alterations at the last moment1 a lowered arm has been raised1 a foot advanced1 etc4 ,it is impossible to doubt the spontaneous character1 in some respects the improvisation of the design4 ,it is1 besides1 rare to outline completely every person in a sketch4 ,frequently the outlines of one or two1 with their chief characteristics1 are drawn1 and these determine the rest4 ,when the sketch is finished1 the painter begins to put in his colour4 ,he first takes a broad brush and rapidly indicates in black the outlines of the figures which compose his picture3 this broad stroke of the brush charged with more colour and forming a projection round the figures can be easily distinguished4 ,next come the fine brushes1 composed of only one bristle1 giving in accurate and precise strokes the chief lines of the bodies and the folds of the garments2 others1 a little heavier1 are used to indicate the hair1 the beard1 ornaments on the garments1 etc4 ,the black may be used in a variety of tones4 ,by diluting it a more fluid matter was obtained1 rather grey1 which was frequently used for the under sides of objects1 for rendering muscular details1 the wavy folds in drapery1 locks of hair1 etc4 ,usually this diluted black would turn yellow in the baking4 ,an unobtrusive polychrome is the result which the painters used with ingenuity2 they were thus able to produce blonde hair or slightly golden folds of garments4 ,we have already stated that1 in order to carry out these very fine lines1 the artist probably held his brush firmly1 not only with the tips of his fingers1 but with closed hand as the ,japanese painters still do 7,figs4 #b and #be74 ,he must move slowly and firmly in tracing these fine lines4 ,constantly obliged to take fresh colour1 he sometimes had to break a line two or three times2 but these joinings are only visible with a magnifying glass4 ,it is said that it was impossible to make any correction of the stroke1 and that the faultless execution of the lines proves the wonderful skill of the ,greeks4 ,we believe this to be an error4 ,a wet sponge probably sufficed to remove any drawings or parts of them from the clay1 and when it was dry the artist could begin work again4 ,it was a question of patience and skill4 ,it is because correction was so easy1 that the results attained are usually perfect4 ,illustration3 ,fig4 #aj4 ,,contest ,,of ,,ajax ,,and ,,hector4 ,exterior of preceding ,cup4 ,the painting finished1 the pot was handed over to a workman to fill in the background between the figures with black as well as the foot and the edges of the handles4 ,after the black had dried1 the pot was returned to the artist's hands to be retouched with colour4 ,in the sixth century1 in the black-figured style1 many colours were used1 as violet-red and white4 ,at the time of ,douris1 the red figured vases displayed very few complementary colours4 ,great simplicity characterized the taste of the times4 ,a few red lines sufficed to indicate fillets tied in the hair1 belts holding swords1 the reins of horses1 etc4 ,red was likewise used to trace inscriptions or the signature of the artist 7,fig4 #h74 ,others preferred to inscribe it in black on the foot of handle 7,fig4 #ae74 ,others again incised it with a style in the thick colour4 ,white only returns again to favour after the ,persian wars4 ,about the time of ,douris1 in the workshop of one of his rivals--,brygos--who may have been a little younger1 attempts were made to heighten the effect of the red figures by a little gilding cautiously placed on the outlines of the armour1 helmets and vases for libations4 ,it is a return to the rich polychromy1 which later continues to develop1 and ends in those pretty little gilt vases devoted to scenes of child life1 beloved by ,attic customers towards the end of the fifth century4 ,as far as we know1 ,douris does not seem to have taken part in the manufacture of the beautiful drinking cups with a white background and fresco tones of brown1 red and violet1 with which the workshops of ,euphronios and his successors were busy 7,fig4 #g74 ,he adheres to the classical method of figures left in the red clay1 and only retouched by a few wine-coloured lines4 ,it may be said that he is not a colourist4 ,to his eyes1 as to those of ,ingres1 drawing is the very foundation of the art4 ,when the drawings were finished1 his chief task was done2 but his position as manufacturer did not permit him to remain indifferent to the rest4 ,he had to carry his painted pottery to the drying place1 and1 after the required time1 to have it baked4 ,this is a very delicate part of the manufacture of vases1 on which its success greatly depends4 ,ancient ovens were probably very imperfect4 ,there are many examples of oxidization by contact with the flame1 which improperly reddens the side of a vase or turns half a figure orange4 ,the supports on which vases were placed1 while drying1 sometimes left round marks4 ,in one known instance1 in consequence of two freshly painted vases touching one another1 the hoofs of a horse have become impressed upon the face of a youth4 ,defects in the material were more liable then than now to expose the ceramist to breakage and various accidents1 which at all times have been the despair of the manufacturer1 and which an ,homeric singer already ascribed to special demons1 8,syntrips1 ,smaragos1 ,asbetos1 ,sabaktes1 ,omodamos1 gods fatal to the furnace40 ,we have already described a kiln adorned with a head of ,silenus1 a prophylactic fetish1 destined to cast out evil influences 7,fig4 #d74 ,at last the pottery is taken out of the oven4 ,the master can contemplate his work1 test the delicacy of its sides1 examine the fusion of the colours1 study the change of tone in the baking4 ,other workmen come to immerse the vases in a prepared bath1 which will glaze the entire visible surface1 brighten the red of the clay1 the background and all the black lines1 but will leave the retouching dull4 ,we are quite ignorant of the ingredients of the bath which so thoroughly accomplished all this and gave the pottery its splendour4 ,we only know that a red precipitate was formed1 traces of which are frequently visible under the foot and upon the clay which had remained uncovered4 ,among vases of the decline1 this red overruns the entire drawing and gives an unpleasant appearance to the whole2 in this case1 as with the black1 either the recipe of the glaze had been lost1 or else the work was badly executed4 ,possibly a dry rubbing with leather or some other substance added finish to the glaze4 ,we must not even yet regard the potter's work as finished4 ,he had to superintend the sale1 attract customers1 confer with shipowners in regard to the export4 ,nor was advertising unknown to the ancients4 ,it adopted many devices4 ,some potters contrived to paint on the vase subjects or inscriptions alluding to the products therein4 ,there are scenes of wine and oil sales1 with sentences1 praising the merchandise or the honesty of the merchant4 ,there are incentives to the pleasure of drinking1 friendly greetings and wishes of good health to him who will use the kylix or kantharos4 ,even the details of the potter's trade have served as matter for representation1 to recall to the customer the fame of ,attic workshops4 ,the prettiest allegory is the one we mentioned above1 where we saw ,athene accompanied by two little ,victories entering a workshop of painters and placing crowns on the heads of the workmen 7,fig4 #b74 ,illustration3 ,fig4 #aa4 ,,the ,,adventures ,,of ,,theseus4 ,by ,douris4 ,british ,museum4 ,but the means most frequently adopted to attract buyers was to inscribe on the body of a vase the name of some young man of distinguished family in ,athens1 known either for his beauty or his fortune1 and in this way to gain the good-will of a rich customer1 who would bring the patronage of all his family and friends4 ,we have a large number of such inscriptions wherein the manufacturer invokes 8the handsome ,leagros10 8the handsome ,glaukon10 or 8the handsome ,megakles10 etc41 and we recognize in these names well-known members of the ,athenian aristocracy 7,figs4 #e1 #g1 #h74 ,it will be remembered that the ,italian potters of the sixteenth century put into circulation coppe amatorie1 bearing portraits of beautiful women1 surrounded by inscriptions celebrating ,lucrezia diva or 8the fair ,camilla40 ,this is a similar idea4 ,lastly1 we have one example of a personal advertisement in rather an aggressive form1 coming from ,euthymides1 a contemporary and rival of ,euphronios4 ,upon an amphora in the ,museum at ,munich1 the boastful craftsman has written this defiant apostrophe3 8,euphronios has never done so well60 ,these minute details enable us to penetrate into the material life of the workshop4 ,we catch a glimpse of the greedy struggles for gain1 the ambitions and rivalries involved in all commercial enterprise4 ,it is the seamy side of this beautiful art1 which to-day appears to us so pure and free from all material considerations4 ,as in all human efforts1 there were undoubtedly in reality many competing interests1 many cruel cares1 much deceit and hatred4 ,but time has done its work2 has thrown a veil over the mean and petty things in life1 and only allowed those to survive which are truly sane and useful4 ,let us rejoice in not knowing whether ,douris was a successful business man1 whether he honestly made a fortune1 or whether he died miserably in debt4 ,that which remains of his work is the spiritual1 the true and fruitful part of his life4 ,his drawings teach us what he was1 not as an individual1 but as an artist1 as a member of the great ,athenian family1 and this it is which interests us above all4 ,,chapter ,v ,,the ,,work ,,of ,,douris ,we will only consider here the works signed by ,douris1 and leave aside a considerable number of anonymous vases attributed to him4 ,we only wish to argue from indisputable records4 ,the number consists of twenty-six drinking cups1 one kantharos1 and one vase for cooling wine1 forming in all about eighty paintings1 which can be divided into three distinct groups3 #a4 ,mythical and heroic subjects1 adventures of gods and heroes4 #b4 ,martial subjects1 scenes of arming and battle4 #c4 ,subjects of everyday life1 banquets1 conversations and exercises in the palstra4 ,it would1 no doubt1 be interesting to study these subjects chronologically1 and to follow step by step the career of the artist2 but we could not place much confidence in a detailed enumeration of dates4 ,we will select the first group as most clear and precise4 ,this will not prevent our examining the numerous and diverse styles through which the talent of ,douris passed4 ,on the whole1 we may say there were two chief periods in his style3 the one1 while he adhered to ancient traditions1 and his drawings remained stiff and archaic2 the other1 when his brush became flexible to a remarkable degree1 and when he began to create4 ,it is the story of many artists1 both ancient and modern4 #a4 ,mythical and ,heroic ,subjects4 ,the kylix of ,eos and ,memnon 7,figs4 #h1 #i1 #aj71 well known to visitors of the ,louvre1 is not only the oldest but the one which best illustrates the first period of ,douris1 and deserves the closest attention from lovers of art4 ,it is a masterpiece of ,greek ceramic art1 at a time when the painting of red figures1 while still retaining the stiff1 archaic forms1 finds means to move the feelings by purity of line and a deep sense of life4 ,the vase1 by the potter ,kalliades1 in itself reveals an old shape 7,fig4 #a right7 with the foot short and squat1 the sides heavy1 a deep bowl and short handles1 following the models of ,nikosthenes and ,pamphaios of the sixth century4 ,later ,douris made a kylix of far more graceful outline1 with a shallower bowl1 a higher stem made slender in the middle1 and lighter handles1 such as one sees in the workshops of ,euphronios1 ,hieron and ,brygos 7,fig4 #a left74 ,on this kylix there are a great number of inscriptions3 nearly every person is designated by name4 ,besides the signatures of the potter and painter we can read the name of the handsome ,hermogenes 7,fig4 #h71 and with it a fragment of a phrase1 the meaning of which remains doubtful4 ,seventeen or eighteen words in all are scattered in fine red letters over the inner surface and the reverse of the cup4 ,this profusion of writing is in itself archaic2 men were communicative in early times1 and delighted in labelling their figures like our old illuminators of the ,middle ,ages4 ,more recent works of ,douris have lost this useless mode of expression4 ,painting is its own interpreter1 and has no further need of this awkward assistance4 ,illustration3 ,fig4 #ab4 ,,theseus ,,and ,,kerkyon1 ,,and ,,the ,,struggle ,,with ,,the ,,marathonian ,,bull4 ,kylix by ,euphronios4 ,louvre ,museum4 ,the composition is synthetic4 ,it contains three events in the ,trojan war4 ,on the reverse are the combats of ,menelaos and ,paris1 ,ajax and ,hector2 on the inner side the ,ethiopian ,king ,memnon lies dead in the arms of his mother1 the goddess ,eos 7the ,dawn74 ,some archologists who have studied these paintings have tried to find here a strong and learned unity1 a kind of drama in three acts1 even at the expense of the inscriptions4 ,brunn even maintained that the latter were faulty1 as he conceived therein an ,achilleid1 celebrating three different feats of the great hero4 ,others have refused to see any reference to the ,epics1 and have noted the differences which distinguished the text of ,homer from these paintings4 ,for instance1 ,douris has placed behind ,menelaos the goddess ,aphrodite1 protectress of ,troy1 which seems inconsistent2 behind ,paris we see ,artemis carrying her bow2 behind ,ajax is the goddess ,athene4 ,these divinities do not figure in the ,homeric account4 ,as regards the death of ,memnon1 it appears to belong to an epic by another cyclic poet1 ,arktinos of ,miletos4 ,it is the imagination of the poet that collected at random1 as it were1 these scattered subjects1 and united them according to his fancy4 ,the opinion we hold amid these conflicting views will be more easily understood by reference to the chapters on the social and mental conditions of the ,athenian potters4 ,to suppose them to have conceived themes of deep meaning1 elaborated like an ode of ,pindar or a chorus of ,sophocles with strophe1 antistrophe and epode1 seems most unlikely2 and if1 in order to gain good results1 the inscriptions must be changed1 we do not hesitate to reject such a procedure as contrary to all scientific method4 ,who can believe that these profound thinkers were so stupid as not to write correct inscriptions8 ,on the other hand1 we know enough of the art of the period1 of the advance made in design1 to expect a certain unity in the whole4 ,it is the spirit of the entire school to unite the different parts of the vase by subjects closely connected1 or at least related4 ,in the present case we believe the ,trojan war to be the great theme uniting the three paintings4 ,this was the most cherished subject1 even with the people4 ,we must remember that a painter of vases had nothing in common with a modern designer who has a text to illustrate before his eyes4 ,it is hardly likely that manuscripts of ,homer or ,arktinos were found on the work-benches of the ,kerameikos4 ,for these craftsmen1 memory or the remembrance of some recitation at the ,panathenaic festivals had to take the place of the book4 ,in consequence1 the chief episode must have made a decided impression on the mind1 without involving accuracy in minor details4 ,in re-reading the ,iliad1 ,book ,,iii4 7,menelaos and ,paris71 and ,book ,,vii4 7,ajax and ,hector71 we gain the impression that the artist1 whoever he was 7for the craftsman may have copied a known work71 has here reproduced the essential elements of the drama4 ,in adding persons1 as ,athene behind ,paris1 or ,aphrodite behind ,menelaos1 the artist simply adhered to the conditions of the composition of a painting1 which at this period scrupulously obeyed the rules of symmetry4 ,aphrodite is placed there to restrain the arm of ,menelaos1 as the gesture of her right hand indicates4 ,artemis1 as a companion figure on the other side1 represents the protecting gods of ,troy 7,fig4 #i72 two goddesses were not too much to watch over the handsome ,paris4 ,the other reverse 7,fig4 #aj7 similarly conforms to1 and diverges from1 the ,homeric text4 ,as in the poem1 ,hector struck by a rock thrown by his adversary sinks to his knees and ,apollo advances to support him4 7,the irregularly shaped object above indicates the stone47 ,in ,homer1 ,athene does not appear1 but here1 placed as she is behind ,ajax1 whom she appears to be pushing forward with a gesture1 she represents the protecting goddess of the ,greeks4 ,the symmetry of the two sides is essential4 ,the decorative tradition requires it1 and the painter sets his professional duty before his respect for a poetic text1 in which no one saw anything more than a general theme for beautiful subjects and attitudes4 ,we are quite convinced that the great painters took exactly the same liberties with the cyclic poems they interpreted4 ,the description of the masterpiece of ,polygnotos1 ,the ,taking of ,troy1 bears witness to this4 ,the artist seems to have complied with the general information given in the epic1 but not to have illustrated any given text4 ,illustration3 ,fig4 #ac4 ,,nereids ,,appealing ,,to ,,nereus ,,and ,,doris4 ,by ,douris4 ,louvre ,museum4 ,in spite of the archaic stiffness1 the execution of the subjects delights us by the purity of line and the great care in detail4 ,the painting is simply a drawing1 hardly retouched with a few red lines4 ,it is like a dry point engraving1 in which all the lines are somewhat prominent4 ,the symmetrical and parallel folds of the garments1 details of the armour1 the imbrications1 the chasing of the helmets and cuirasses1 the locks and curls of hair1 are marvels of patient and conscientious work4 ,the ornaments1 as carefully finished as the rest1 have the same stiff and rather metallic precision4 ,lastly1 the black glaze1 thick and velvety1 gives an extraordinary brilliancy to the entire vase4 ,in considering the painting of the interior 7,fig4 #h71 we move upwards another step4 ,in its small compass1 we consider it one of the finest paintings handed down to us from ancient times4 ,it consoles us somewhat for the loss of so many masterpieces1 and we cannot suppose that a potter1 working alone in his workshop1 invented this first ,mater dolorosa1 which is as touching as a ,mantegna or a ,roger ,van der ,weyden4 ,nowhere is a copy from a great painting more forcibly evident4 ,every one must be impressed by the striking resemblance of this ,pagan and ,greek creation to the emblem that has moved ,christian souls for so many centuries4 ,eos1 standing with outstretched and beating wings1 bends toward the dead face of her son ,memnon1 her strained arms supporting his rigid body4 ,the goddess1 who represents the radiant morning and the promises of ,nature awakening with the dawn1 is here simply a despairing mother imprinting on her mind with one long look the beloved features she will see no more2 the contrast is profoundly sad1 and a creation worthy of a great poet4 ,the body of the powerful prince of the ,ethiopians1 the ally of ,priam1 is entirely nude as it was taken up on the battlefield where his adversary ,achilles had robbed him of his armour4 ,the stiff legs are stretched out1 the left foot still contracted with pain1 the arms swing limply1 the head drops1 while the dishevelled hair1 the delicate beard1 and the closed eyes arouse an irresistible memory of the dead ,christ4 ,we have a true ,piet before our eyes4 ,what miracle in art1 what unexpected chance unites ,pagan and ,christian art to express the same thought1 in the same form8 ,is it not a proof that across the centuries great artists share the same thoughts1 and to express the emotions of life create a universal language8 ,is it not this again which attracts us in ,homer1 in those never to be forgotten scenes1 expressing so well the deep feelings of all men at all times2 the farewell of ,hector and ,andromache1 the return of ,ulysses to ,ithaca8 ,art soars above time and space1 more than all else it embodies the solidarity of succeeding generations without any knowledge of one another4 ,a kylix in the ,british ,museum1 with ,the ,adventures of ,theseus 7,fig4 #aa71 of more recent form and style1 teaches us still better that behind the vase painter may be concealed other and greater personalities1 who are the true creators of the work of art4 ,a famous kylix from the workshop of ,euphronios shows us similar scenes glorifying the ,athenian hero1 forming with the ,eos and ,memnon1 by ,douris1 and ,the ,taking of ,troy1 by ,brygos1 a glorious trio of ceramic masterpieces1 of which the ,louvre is justly proud4 ,in comparing the works of ,douris with those coming from the workshops of ,euphronios1 the idea suggests itself that they either copied one another or borrowed from one common original4 ,both suppositions are possible4 ,as already mentioned1 no law or custom prohibited artistic plagiarism4 ,if ,douris knew of the beautiful work executed by his colleague1 nothing prevented him from adopting it for his own use4 ,but1 on the other hand1 the broad style of ,euphronios' production and the peculiar character of the adventure of ,theseus recovering the ring of ,minos from the bottom of the sea1 a subject treated by ,mikon1 one of the great painters of the fifth century1 finally the great number of works of art which at this period celebrated the national hero's glory1 lead us to believe that a potter had no need to look over his neighbour's shoulder to gain suggestions for a theme of ,theseus4 ,he was surrounded by models in painting1 sculpture1 painted bas-reliefs1 models1 carved and engraved4 ,the supposition of a common model or several models1 from which a craftsman1 in a way1 chose the desired subject1 seems most probable4 ,illustration3 ,fig4 #ad4 ,,sileni ,,playing ,,and ,,dancing4 ,vase by ,douris4 ,british ,museum4 ,it is only in this sense and with such reservation that these two cups can be compared4 ,in looking at the superb vase in the ,louvre1 no one will hesitate to give the preference to the workshop of ,euphronios4 ,in the interior is ,the ,visit of ,amphitrite2 in this painting the author has retained all the seriousness of great religious art with a touch of archaism in the drawing and position of the characters1 showing thereby that he has copied an ancient fresco2 while1 on the contrary1 on the reverses1 the combats of ,theseus with the robbers ,skiron1 ,prokrustes and ,kerkyon1 and the struggle with the ,marathonian bull1 are treated as in metopes1 with bold1 vigorous lines1 giving rather a feeling of the influence of sculpture 7,fig4 #ab74 ,the composition of ,douris 7,fig4 #aa7 is more firmly knit1 because it concentrates all the attention on the adventures of the hero against monsters and robbers4 ,in the interior is the fight with the ,minotaur1 an ancient and classic theme from the sixth century2 on the reverses1 the defeat of ,kerkyon1 of ,skiron and ,sinis1 and the hunt of the boar of ,krommyon2 two women give some variety and animation to the whole1 the nymph ,phaia who lived at ,krommyon1 and the goddess ,athene who protects her favourite hero at his labours4 ,here again is a closely-knit trilogy2 but1 we must confess1 the execution is far inferior to that of the cup of ,euphronios4 ,it is accurate and a little commonplace4 ,there is1 however1 noticeable a desire to express landscape1 a care for external ornament1 visible in the palm tree and the small trees placed about1 and by a cloak thrown upon a tree trunk4 ,it is a rare mark among ,greek painters1 and worthy of note4 ,we will look more rapidly at the paintings of the kantharos at ,brussels1 the importance of which1 as being a vase moulded by ,douris himself1 we have already mentioned 7,fig4 #a74 ,the figures represent 8,herakles' contest with the ,amazons10 an old type1 nearly a century old1 but with the added beauty of a clear and accurate style1 and an admirably certain execution4 ,nor are the subjects new which are treated upon another kylix in the ,louvre1 ,the ,rape of ,thetis by ,peleus4 ,but ,douris deserves the credit of having skilfully revived an old subject known on ,corinthian and ,attic vases of the sixth century4 ,it is possible to follow in the ,louvre the same painting done in turn by a ,corinthian1 then by an ,attic painter of black figures1 and lastly by ,douris4 ,it is of great interest to follow the development of the composition and of the grouping of the figures1 of their attitudes1 and of the drawing itself4 ,we perceive here the same differences as in comparing a ,madonna of ,cimabue with one of ,lippi4 ,symmetry of figures1 stiff and angular outlines and severe features have given place to life and tender touches of the brush4 ,at the same time1 the close connection of these successive works appears most striking--the link with the past has never been severed2 the fundamental conception has always remained the same2 improvement has come from within1 and extends to every little detail4 ,illustration3 ,fig4 #ae4 ,,hera ,,and ,,iris ,,attacked ,,by ,,sileni4 ,by ,brygos4 ,british ,museum4 ,douris has extended his composition and united the two reverse sides of the kylix4 ,on one1 the hero seizes the goddess1 who struggles in his grasp and has summoned to her aid the magic art of transformations4 ,these are given with all the navet of primitive art3 to tell us that ,thetis changes into a lion1 and later into a serpent1 the artist has drawn on one side a young lion seated on the shoulder of the goddess1 and tearing with his teeth the arm of her ravisher2 on the other a serpent lifts its twisted coils and darts its threatening jaws at him4 ,the companions of ,thetis1 the ,nereids1 frightened by so bold an attack1 take flight1 and this gives the painter an opportunity of showing us young girls running in many graceful attitudes--the arms are tossed in gestures that are still angular2 the bare feet and legs escape from the drapery1 showing the rather lean suppleness of these young maidens4 ,it is1 at the same time1 a skilful method of uniting the whole2 in fact1 on the other reverse we see other nymphs running1 who come to tell the god ,nereus and his wife ,doris of the attempt4 ,both are seated on ornamented thrones with the ,olympian majesty of a ,jupiter and a ,juno 7,fig4 #ac74 ,all the beauty of the famous group in the ,panathenaic ,frieze is already visible in their movements and their attitude4 ,illustration3 ,,contest ,,of ,,ajax ,,and ,,ulysses4 ,fig4 #af4 ,,the ,,voting ,,of ,,the ,,greek ,,chiefs4 ,by ,douris4 ,vienna ,museum4 ,unfortunately the interior is defaced and restored1 but the artist has shown no less ingenuity in its design4 ,he has taken a theme frequently used by painters of red figures1 and thus rendered rather commonplace--the libation2 but instead of showing us the well-known scene of a soldier departing on a campaign and receiving the full cup from a woman1 he has enlarged the subject1 and shows us the god ,poseidon seated1 receiving a libation cup from the hands of a goddess1 probably his wife1 ,amphitrite4 ,again a synthetic trilogy prevails in this composition3 in the upper part of the vase the god of the sea and his consort are throned2 in the lower part is enacted a little drama which takes place on the seashore1 and has sea-gods as actors4 ,everywhere we find the intelligent skill of the ,greek1 and the easy art with which he beautifies all he touches4 ,was all this the personal work of ,douris8 or does the model he copies and follows deserve much of the credit8 ,it will always remain an open question4 ,as we possess a kylix by the potter ,hieron 7it has even been ascribed to ,douris71 another by the painter ,peithinos1 and many anonymous vases which repeat in similar form the details of ,the ,rape of ,thetis1 we again incline towards the second hypothesis4 ,how many sanctuaries in ,greece1 dedicated to the gods of the sea1 must have contained paintings or reliefs of this kind6 ,it is the variety of models1 in a word1 which best explains the variety of styles among painters of vases4 ,as we remarked above1 no vase painter is of greater interest in this respect than ,douris4 ,if any one wishes to estimate at a single glance his often puzzling versatility1 he need only look at the mythological painting on a large receptacle for wine in the ,british ,museum 7,fig4 #ad74 ,the choice of the subject1 ,the ,bacchic ,thiasos1 repeated to satiety upon black-figured amphor of the sixth century1 leads us to expect only a commonplace painting1 but the artist instead brings us face to face with one of the most spirited sketches ,greek art has left to us4 ,douris shows himself daring1 amusing1 free almost to indecency1 and one asks how the same brush which painted many little paintings1 rather stiff in their symmetry1 could become animated to the point of inventing these funambulistic movements of wild beasts let loose4 ,these are ,sileni playing and dancing4 ,arranged in a row1 like mountebanks upon their stage1 they abandon themselves to frantic sports under the leadership of a herald costumed as ,hermes1 on his head the petasos1 and in his hand the caduceus4 ,one lowers his head to drink from a cup placed on the floor2 a second1 in a half-lying position1 has the contents of a goat skin and a wine jug poured together into his mouth by two of his companions2 others toy in a ludicrous fashion with kantharoi1 or dance on one foot1 and try by bending forward to reach a full cup4 ,even expurgated1 this painting sufficiently shows the unbridled gaiety and fun which the ,greek designer allowed himself4 ,in that again he resembles the ,japanese draughtsman1 in love with buffooneries and acrobatic postures4 ,those who only like to think of ,greek art as serious and moralizing1 can take their own view4 ,greek art knew all and dared all--works such as were placed upon school walls to elevate thought1 and such as were hidden under a cloak4 ,the same brush drew the touching image of ,eos and ,memnon1 and this scene of a pagan1 ,kermesse4 ,in ,athens this surprised no one4 ,we have1 however1 classified our artists1 and confined them to their specialities4 ,we do not admit that a 8serious0 artist could cause laughter1 and we have our professional caricaturists4 ,leonardo da ,vinci1 it is true1 did not disdain to draw the grotesque4 ,neither ancient painting nor sculpture feared the ugly or the comic2 but they gave to each a meaning4 ,they did not cause laughter for the sake of laughing4 ,they did not cause fear for the sake of frightening4 ,these important elements in real life have a symbolic and allegoric meaning4 ,the head of ,medusa appears as a survival of vanished monsters1 which terrified man when he sought to establish his dominion on earth4 ,the ,learnan hydra is1 on the most ancient vases1 a gigantic octopus gripping ,herakles and ,iolaos1 as the octopus clasps ,gilliatt in ,les travailleurs de la mer4 ,the grimacing mask of the satyr is the inheritance of a very early conception transformed by art4 ,it would not be difficult to prove1 documents in hand1 that the large anthropoid apes met by the ,phnicians in their explorations in ,africa1 and drawn by them on their metal cups of the seventh century1 furnished the ,ionian artists1 when combined with the ,bes of the ,egyptians1 with the prototype of the hairy and shaggy ,silenus1 with the flat-nosed face1 that one sees on certain sarcophagi of ,klazomenai4 ,this is what we admire in the ,sileni of ,douris4 ,the skilful1 dry point of the artist knew how to preserve1 when he sketched them on clay1 all their simian agility1 their droll1 gorilla-like features1 the relaxed1 sinewy and flexible limbs1 wherein we recognize the vigorous beast in semblance of a man4 ,we only know of one other artist who has rendered this bounding animal gait of the ,sileni with equal success--the painter of a kylix from the workshop of the potter ,brygos1 which is undoubtedly inspired by a satyric drama2 here the goddess ,hera and her companion ,iris are in great distress through falling into the midst of such a wild band4 ,fortunately ,hermes with fair words1 and ,herakles with his club1 arrive in time to restrain these rash and disrespectful fellows 7,fig4 #ae74 ,illustration3 ,fig4 #ag4 ,,ulysses ,,restoring ,,the ,,arms ,,of ,,achilles ,,to ,,neoptolemos4 ,interior of preceding ,cup4 ,let us finish this review of the mythological subjects with a kylix from the ,museum in ,vienna on which we see ,the ,contest over the ,arms of ,achilles 7,figs4 #af and #ag74 ,it will give us an opportunity of studying dramatic themes in the hands of ,douris1 drawn from epic poetry1 and adopted by the writers of tragedy4 ,we know how1 later1 ,sophocles in his ,ajax with the ,scourge1 showed the fatal result of the unexpected quarrel arising between ,ulysses and ,ajax for the possession of the divine weapons1 which ,thetis had given to her son ,achilles4 ,this event was a favourite theme1 and had been treated in ceramic painting from the sixth century onwards4 ,in what work and what kind of production did ,douris seek his inspiration8 ,we shall always remain ignorant of this4 ,we only wish to show by this example in how great a measure the ,greek theatre influenced composition and even the style of painted vases4 ,several black-figured vases1 some of which are in the ,louvre1 represent this ,contest2 the two heroes have come to blows and are falling upon each other fiercely1 while ,agamemnon and other ,greeks exert themselves to separate them4 ,this fundamental theme was not lost on ,douris1 for he made use of it on one of the reverses of his kylix 7,fig4 #af74 ,but1 following his fancy or other models of which we know nothing1 he adds two other episodes3 7#a7 on the other reverse1 ,the ,voting of the ,greek ,chiefs1 who all bring their votes in the shape of pebbles1 and place them on an altar in the presence of the goddess ,athene1 thus awarding the victory to ,ulysses 7,fig4 #af72 7#b7 in the interior1 ,ulysses and ,neoptolemos1 a painting forming1 as it were1 the heroic catastrophe of the drama1 where the victor renounces the glorious weapons and restores them generously to the son of ,achilles1 so that he in turn may wear them and accomplish the ruin of the ,trojans 7,fig4 #ag74 ,here1 again1 ,douris' favourite manner of composition results in a trilogy4 ,we have the three acts in a tragedy1 dominated by the memory of ,achilles and the epic of the ,trojan war4 ,the fact will at once be recalled that to the ,greek theatre1 as conceived by schylus and his immediate predecessors1 a similar arrangement was not unknown4 ,we find many such examples of about the time of the ,persian wars1 not only by ,douris1 but by his rivals as well4 ,to look here for an exact copy of some contemporaneous work would undoubtedly be absurd4 ,we can hardly insist too strongly on this point4 ,the absence of the costumes and accessories of the theatre1 which were so individual and expressive in their conventions1 is an indication that the painter did not try to depict on clay the living spectacle he had just witnessed4 ,in a later age1 the ,greek vases of southern ,italy freely transferred scenes from tragedies1 but in this ancient period we have no such examples4 ,the composition is derived from the theatre just as in the kylix of ,eos and ,memnon1 mentioned above1 it depends on ,homer4 ,it is a general impression that the mind of the artist has absorbed1 and it helps him to arrange his subjects better4 ,professor ,carl ,robert has very well remarked that the vases of the sixth century have the 8epic0 manner2 they tell stories and relate to us in detail like the ancient singers4 ,those of the group of ,douris have a 8dramatic0 manner2 they habitually appeal to us by synthetic groupings1 which we accurately term in the language of the theatre tableaux1 and which sum up an entire scene4 ,we would further remark that in ,douris and his contemporaries1 the figures assume attitudes which one might call 8scenic40 ,on one side of the painting of the ,voting 7,fig4 #af71 ,ulysses1 with uplifted hands1 expresses at once astonishment and delight to see how the heap of little stones which represent the votes in his favour is growing2 while1 on the other side1 in the right corner of the scene1 ,ajax1 alone and deserted and feeling defeat inevitable1 covers his head with his cloak to hide his disgrace1 a dramatic figure1 suggesting the often cited work of ,timanthes--,agamemnon hiding his face so as not to witness the sacrifice of his daughter ,iphigeneia4 ,we still could cite vases from the ,louvre--beautiful examples--showing ,achilles returning sad and in despair to his tent4 ,what caused this beautiful and tragic inspiration8 ,who created these attitudes of mute eloquence if not the ,greek drama8 ,do we not know that one of the great effects in the drama of schylus was precisely his placing on the stage an immovable ,niobe1 and a stern ,achilles1 who answered the messages of ,agamemnon simply with unrelenting silence8 ,illustration3 ,fig4 #ah4 ,,achilles ,,killing ,,tro,,los4 ,by ,euphronios4 ,louvre ,museum4 ,the poetry in the best compositions of ,douris is entirely derived from memories of the epic and memories of the drama4 ,it matters little whether he invented them or whether they were suggested to him2 it is the very essence of ,greek painting disclosed before our eyes1 with its spirit of freedom and ready adaptation4 ,everything is helpful and suggestive to an artist4 ,whether derived from epic recitations1 from lyric strophes1 or from the theatre1 these floating images all become fixed by his brush and take definite shapes1 which in turn will haunt the imagination of other artists and guide their hands4 ,what a rich fertility of art1 which multiplied its creations on all hands1 and united all classes of the ,athenian people into a kind of brotherhood of labour6 #b4 ,martial ,subjects4 ,battle-scenes had for three centuries been the classic subject of industrial design4 ,as with all primitive peoples1 war had been at first the chief occupation of the ,greeks1 and in consequence one of the chief sources of art4 ,the ,dipylon vases covered with warriors1 chariots1 boats1 dead and wounded1 or with pompous funeral scenes are contemporary with the ,iliad4 ,from the seventh to the fifth century the warrior subject was repeated to satiety upon all ceramics with black figures4 ,how will ,douris profit by this8 ,seven drinking cups bearing twenty paintings are devoted to this style4 ,most of them are subject to the rules of symmetric composition1 which we observed on the ,memnon kylix1 in the contests of ,menelaos and ,paris1 and of ,ajax and ,hector4 ,truth and tradition unite in giving to this subject the appearance of a simple duel1 the secondary personages1 as it were1 forming a frame4 ,sometimes a wounded man placed between the two champions indicates the cause of the encounter1 and at the same time forms the centre of the group4 ,this primitive scheme1 much used by the ,corinthians1 is found again in many of ,douris' paintings4 ,it is evident that he did not give himself great trouble to invent1 and that he only reproduces a well-known theme4 ,one may say as much of the battle1 considered as a hand-to-hand fight2 five hoplites are engaged in a struggle in a regular and prescribed manner1 where the combatants1 ordinarily paired two and two1 display their strength in the attitudes of well disciplined duellists4 ,it is only a variant of the preceding subject4 ,these works teach us nothing new with regard to the art of ,douris1 and are only of value in so far as the minute mastery of his brush is concerned4 ,we must look elsewhere for his ingenious mind--in the scenes of arming and the battles of ,greeks and ,persians4 ,arming is only an episode of military life4 ,instead of showing us the battle1 the painter allows us to be present at the preparations4 ,a strong effect has been produced on a kylix made in the workshop of ,euphronios3 ,achilles1 in ambush1 surprises ,trolos1 the youngest son of ,priam1 who comes to draw water at a fountain2 he pursues him across the plain as he flees in his chariot4 ,the alarm is given1 and one sees the ,trojans hastily arming and running to the royal child's assistance4 ,but they come too late4 ,in another painting we see the crime already accomplished2 without pity for the tender years or the cries of his victim1 the hero cuts off the boy's head by the altar of ,apollo1 where he has taken refuge 7,fig4 #ah74 ,the conceptions of ,douris are not so dramatic4 ,the design of the kylix in ,vienna1 which is a masterpiece of its kind1 allows us in a manner to penetrate into a ,greek camp1 at the hour when all are preparing for the manuvres or the battle 7,fig4 #ai74 ,it is mediocre1 even a little commonplace1 as regards observation1 but it is clever by the realism of the small practical details4 ,in the interior is the classic scene of a libation1 a soldier before his departure praying to the gods2 a woman brings him wine which she pours into a sacrificial cup4 ,on the reverse1 an encampment2 the alarm has sounded1 every one seeks his arms in haste1 one his sword1 another his lance or helmet4 ,the monotony of the subject had to be varied4 ,the painter has succeeded in this by introducing some old and bearded men who help and encourage the youths1 and a woman who brings a shield and a sword4 ,nothing can be more animated than the faces and gestures of these young men arming themselves4 ,one tries his sword and draws it partly out of the scabbard1 another binds the fillet about his hair1 so as to adjust his helmet more firmly2 his companion1 with a finical gesture1 turns up his sleeve and the lower part of his tunic4 ,elsewhere 7,fig4 #ai71 a hoplite already helmeted places greaves on his legs1 another dons his corselet1 a third hangs his sword at his side and puts the shoulder belt over his shoulder1 a fourth makes a little gesture of comic despair showing that he has forgotten to place a crest on his helmet1 while the last raises and ties his long hair4 ,these are sketches drawn from life1 and are almost like the sketch-book of an artist who has accompanied soldiers at their manvres4 ,what we term 8military painting10 in its familiar and picturesque form1 dates from the ,greeks4 ,illustration3 ,fig4 #ai4 ,,soldiers ,,arming4 ,by ,douris4 ,vienna ,museum4 ,the style of this kylix is ancient1 and it dates from the earliest period in the career of ,douris4 ,although found at the same time and in the same place as the other kylix at ,vienna 7,fig4 #af71 representing ,the ,contest of ,ajax and ,ulysses1 although signed by the same painter and moulded by the same potter ,python1 it represents an entirely different manner4 ,here is a style still archaic1 the heads large1 the bodies rather thickset1 the draperies with regular and symmetrical lines1 an extreme minuteness in all details4 ,there1 the proportions are reversed1 the bodies lengthened1 with small heads1 the garments with wavy folds1 the entire execution freer and with less care for detail4 ,no one would think of attributing the two vases to the same master if they did not bear the name of ,douris4 ,this comparison permits us to appreciate the nature of the changes that took place in a ,greek potter's career4 ,he is not a craftsman who is satisfied to remain in the routine of a uniform method4 ,he is an artist who wishes to learn1 who reflects and develops4 ,herr ,hartwig has well demonstrated that there was a 8first0 as well as a 8second0 style in ,douris1 as in our days in ,corot or ,fantin-,latour4 ,to introduce glorious memories of the ,persian invasion1 only recently repulsed by the ,greeks1 was another mode of rejuvenating the warrior subjects4 ,these direct allusions to the ,persian wars1 are1 to our great surprise1 only rarely found on the monuments4 ,it is a characteristic trait of the idealism in which the art of the fifth century delights4 ,anything in the form of anecdote or accident1 all that forms the woof of material facts1 is only of slight interest to it4 ,it fears also to provoke the gods by extolling the grandeur of ,athens1 and hence allegory and symbol are used in preference4 ,the ,treasury of the ,athenians1 raised at ,delphi from a tithe of the spoils of ,marathon1 glorified the deeds of ,herakles and ,theseus4 ,the pediments of the ,temple at gina1 probably made after ,salamis1 show the ,trojans conquered by ,homeric heroes4 ,to celebrate ,greece's second victory over ,asia1 images of the ,trojan horse were placed on the ,acropolis and on the slopes of ,delphi4 ,industrial painting conforms to the same principles4 ,warrior subjects were frequently represented by battle-scenes between ,greeks and ,asiatics1 but appear only to contain allusions to the ,epic1 or else to the battle of ,herakles with the ,amazons 7,fig4 #a71 which recalls the great deeds of the ,greeks' ancestors against barbarians4 ,illustration3 ,fig4 #bj4 ,,greek ,,hoplite ,,and ,,persian ,,standard ,,bearer4 ,by ,douris4 ,louvre ,museum4 ,we may say that ,douris gave proof of originality by frankly dealing with modern subjects4 ,a kylix at the ,louvre1 unfortunately damaged and restored1 shows in the interior an hoplite striking with his sword a fallen barbarian soldier1 who holds a standard with two square-shaped flags 7,fig4 #bj74 ,this typical accessory leaves no doubt as to the meaning of the painting4 ,a banner would never be placed in the hands of a ,trojan4 ,it is very probable that the victors of ,marathon picked up ,persian standards on the battlefield with the spoils1 and that we have here the reproduction of such a trophy4 ,we look upon this sketch of ,douris as a precious record of the army led by ,datis and ,artaphernes in #dij4 ,for the vase is not of a style to be dated after #dhj1 that is to say1 after the second invasion conducted by ,xerxes in person4 ,other vases attributed to the painter ,onesimos represent battles of ,greeks against ,asiatics on horseback1 very realistic in form4 ,here one may again see copies from life4 ,lastly1 ,greeks and ,persians are fighting on the sculptured frieze which adorns one side of the small temple of ,nike ,apteros on the ,acropolis4 ,these1 however1 are rare allusions to the greatest military achievements of the century4 ,it is not difficult to imagine what they would have produced in modern art4 ,we must1 however1 beware of crediting ,douris with an exaggerated initiative1 and we must not forget that among the lost works of ,greek art1 a painting by ,mandrocles is mentioned1 dating from ,darius' expedition into ,scythia1 ,the ,crossing of the ,bosphorus1 and at ,athens a ,battle of ,marathon1 attributed to ,panainos1 in which ,miltiades and the chief ,greek generals were seen repulsing the ,asiatic phalanxes4 ,douris and ,onesimos did not lack models to guide them into this channel4 ,the value of their works is above all in the good fortune which has preserved them to us1 and gives us1 if not the letter1 at least the spirit of the painting dedicated to contemporary history4 #c4 ,everyday ,scenes4 ,here1 again1 it is convenient to divide the work of ,douris into two parts4 ,at times1 like all the manufacturers1 he made use of old subjects with hardly any change2 then1 again1 he sought new ideas and popularized unused themes4 ,the latter1 of course1 will chiefly occupy our attention4 ,a general statement should first be made3 the work of ,douris1 as we actually know it1 shows a distinct preference for living subjects4 ,of his eighty paintings we can count seventeen dedicated to mythical subjects1 twenty-two to military life1 and forty-one to everyday scenes4 ,the proportion in favour of contemporary life is more than three-fourths4 ,comparing these with works signed in the workshops of ,euphronios 7fifteen mythical subjects1 two warrior subjects1 and eight everyday scenes71 from the workshop of ,brygos 7seventeen mythical1 one warrior1 and six everyday scenes71 we observe that the proportion is reversed by the two most distinguished rivals of ,douris4 ,we may1 therefore1 note this characteristic in his work which he has in common with another great designer1 ,hieron 7twenty-three mythical and thirty-one familiar scenes74 ,these two artists thus prepared the way for the genre picture1 which was to dominate the second half of the fifth century1 and to make women and children the favourite subjects of painters4 ,illustration3 ,fig4 #ba4 ,,seated ,,youth ,,holding ,a ,,hare4 ,by ,douris4 ,louvre ,museum4 ,the most frequent themes are scenes from the palstra 7,fig4 #f74 ,youths are wrestling1 running1 jumping1 dumb-bells in hand1 or throwing the discus2 the teachers of gymnastics watch the sports1 rod in hand1 ready to punish the lazy or check any brutality4 ,sometimes a small column1 or a basin intended for ablutions1 a pick-axe1 or a javelin thrown down1 indicates where the scene takes place4 ,only this much would a ,greek draughtsman permit himself as scenery4 ,man alone1 action or living forms1 are the subjects of his study2 nor does he seek1 as we do1 to endow with sentiment the objects in his environment4 ,landscape1 which moves us1 leaves him quite indifferent4 ,but what knowledge of the human form1 what love of line and contour6 ,his short1 skilful brush moves freely on the clay1 throwing out delicate outlines1 simplifying the muscles and giving only the most essential1 breaking or spreading out the long folds of the drapery1 emphasizing the flexible spine1 drawing sinewy hands and grave profiles with strong chins and heavy lips4 ,he attacks the difficulties over which archaic art had not yet triumphed--foreshortening and three-quarter poses4 ,kimon of ,kleonai1 a great painter of the sixth century1 had proved how effective the latter could be4 ,in the structure of the eye he attacks another difficult problem1 trying to modify the everlasting and awkward convention of earlier times--a face in profile with an eye full face4 ,he tries many forms--round1 triangular1 open on one side4 ,one feels the solution1 which henceforth shall be that of all draughtsmen1 growing under his fingers4 ,all this is suggested by the study of his beautiful paintings1 in which ,douris has not invented much1 for the school which preceded him1 that of ,epiktetos1 of ,paidikos1 of ,chakrylion1 offered similar studies1 but he unfolds a constant desire for perfection of form4 ,in his work one may note the clever and economical device of drawing many persons by means of very few models4 ,in his scenes of the palstra1 consisting of ten or twelve persons1 he uses1 in fact1 only two models--a bearded man and a youth1 who are seen under different aspects4 ,many of his contemporaries made use of the same device4 ,it may be inferred that in these scenes the painter used living models more frequently than elsewhere2 it is a companion or an apprentice who has posed and has been turned about on every side4 ,in consequence1 the composition is not so bold1 but more commonplace than in the mythic paintings inspired by superior models4 ,nowhere is this inability to group the figures in familiar scenes more apparent than in a kylix at the ,louvre1 in spite of an abundance of humorous detail and pretty silhouettes4 ,what can be more graceful than the figure of ,the ,youth and the ,hare 7,fig4 #ba78 ,seated on a stool and leaning on a stick1 he looks with tenderness at the nimble little creature1 which the ,athenians liked to tame1 and which prowled about their houses as cats do with us4 ,at the same time it was a love token1 and one frequently sees on ceramic paintings grave persons advance holding by the ears this frisky gift1 which they offer to young boys4 ,plato's ,banquet informs us on this well-known custom of the ,greeks4 ,on the inner circle1 framing like a medallion ,the ,youth and the ,hare1 runs a band1 repeating a design ten times in almost the same form--a bearded man rests on his stick1 addressing friendly words to a boy seated before him4 ,one holds a lyre2 another a hare2 others are wrapt1 as if chilly1 in their cloaks4 ,similar themes decorate the two reverse sides4 ,in all one can count thirty-three persons1 but there are in reality only two actors4 ,it is as if a metope with two figures were constantly repeated1 with some variety1 upon all the free space of the vase4 ,each detail of the group is executed with zest and spirit1 but composition does not exist4 ,illustration3 ,fig4 #bb4 ,,interior ,,of ,a ,,school4 ,by ,douris4 ,berlin ,museum4 ,the kylix in the ,berlin ,museum1 ,the ,interior of a ,school 7,fig4 #bb71 shows the same fault1 although it may be considered as ,douris' masterpiece in everyday scenes4 ,but the subject is of such interest to us1 and throws so much light on the life of ,greek scholars1 that we think no longer of imperfections nor of the systematic stiffness of the groups4 ,here1 again1 ,douris is seen as an original and fertile initiator4 ,he here abandons the palstra and the gymnastic exercises1 repeated a hundred times1 and takes us into the school-room where the music-master and the grammarian give their lessons2 on one reverse1 lessons on the lyre and recitations are given1 on the other1 lessons in writing and flute-playing4 ,in the interior1 a simple figure of a nude youth tying his sandal1 shows the boy1 whose task is finished1 preparing to run and play4 ,it is a charming and sober painting1 we should call it to-day1 8an instantaneous impression10 giving a glimpse of life which particularly attracts us4 ,how were the youths of ,athens educated8 ,upon that theme bulky volumes have been written4 ,as ,m4 ,paul ,girard has shown in his ,education ,athnienne1 this kylix of ,douris teaches us better than the texts4 ,we see here the importance the ,greeks attached to musical instruction4 ,the word 8music0 expressed the entire education2 literary studies1 instrumental music and singing4 ,music walked hand in hand with literature and gymnastic exercises4 ,plato even went so far as to say that the art of touching the soul with song inspired the desire for virtue4 ,he rejected1 however1 as voluptuous and enervating1 certain ,ionian and ,lydian modes4 ,we must remember that music was intended chiefly1 as represented on the vase in ,berlin1 to accompany the song1 and that the words were more significant than the melody4 ,prayers1 invocations1 war-songs1 moral maxims1 all contributed to make music a powerful instrument of education1 and the apparently paradoxical words of old ,damon may in this way be explained1 when he said that the rules of music could not be changed without shaking the state itself4 ,the kylix of ,douris corresponds closely with these ideas4 ,literature is represented1 on the one hand1 by a master of declamation holding a written scroll1 upon which we read the beginning of an epic poem that a pupil is about to recite 7,fig4 #bb72 on the other side1 a young master is tracing a page of writing1 while a pupil stands ready to copy it4 ,meanwhile the tutors of the boys sit on stools1 waiting for the lessons to be finished to conduct them home4 ,no other ancient artist has permitted us to enter so intimately into ,athenian life4 ,what we term 8genre painting0 has appeared4 ,it is the last and perhaps the most fertile inspiration that ,douris derived from great contemporary art4 ,it permits us1 at the same time1 to admire the flexibility of a great talent1 starting with religious and heroic subjects in the severe style of ,eos and ,memnon1 and attaining to the graceful and brilliant compositions of ,the ,youth and the ,hare1 and ,the ,interior of a ,school4 ,there is an amusing sketch from the workshop of ,euphronios1 which may be placed by the side of these paintings1 showing a writing-teacher bending forward in his chair1 with forefinger raised and threatening1 as if he were scolding the little fellows confided to his care 7,fig4 #bc74 ,,conclusion ,if we have succeeded in reproducing the rather complex physiognomy of ,douris1 we hope we have clearly indicated its two-fold character4 ,his talent and his originality do not raise him above the conditions imposed upon his craft4 ,it would be an error to ascribe genius to him4 ,he owes his importance1 on the one hand1 to the disappearance of great paintings1 and1 on the other hand1 to the innate qualities of the ,greek race1 which even invested popular works with freedom and beauty4 ,julius ,lange1 the ,danish archologist1 has said that to judge ,greek painting from the vases is like judging the light of the sun by the reflection we receive from the moon4 ,but if1 in this regard1 industrial art is inferior to the lost masterpieces1 let us not forget that it is nearer to the people1 whose thoughts it so forcibly expresses4 ,so the anonymous sculptors of images in our cathedral reveal to us the medival ,french soul far better than the great artists can4 ,illustration3 ,fig4 #bc4 ,a ,,schoolmaster4 ,berlin ,museum4 ,with these thousand sketches upon fragile clay we can retrace an evolution which lasted four or five centuries1 and created the art of drawing1 as it is practised by all modern nations4 ,indeed1 after long endeavours1 the ,greeks were the first who shattered the tyrannic conventions to which artists had conformed1 in ,egypt1 ,chaldea and ,assyria4 ,they refused to disjoint the human form on the pretext of showing it from a true anatomical point of view4 ,for the artificial reality of the body drawn in sections1 they substituted a living silhouette seized in rapid movement1 rendered with all its irregularities of form and its lack of symmetry4 ,this proved the victory of art over science4 ,one became accustomed to figures half turned to the spectator1 to perspective1 to parts half hidden or suppressed1 one learnt to consider ,nature not as she is1 but as one sees her4 ,the orientation of art was completely changed4 ,the invention of foreshortening and of modelling by means of shadows belongs to the ,greeks4 ,both had considerable influence on the ,roman world1 and later on modern times4 ,we may compare these discoveries to those in physics or in chemistry which entirely revolutionized the domain of science4 ,it is an error to suppose that the scientist alone is capable of discoveries which humanity at large is called upon to enjoy4 ,in art the same action and reaction take place1 and a solidarity uniting the past and present is not less powerful4 ,between an ,egyptian fresco and an oil painting by ,van ,eyck there is scarcely anything in common as regards conception and process4 ,between a drawing by ,douris and the ,stratonice of ,ingres a resemblance is very perceptible1 almost a kind of brotherhood4 ,the drawings of ,douris teach us to understand yet another thing4 ,greek painting at this period had a cause at heart which the entire fifth century upheld with passionate conviction--the belief that the aim of the plastic arts is the representation of man4 ,after the ,cretans and ,mycenans had derived such admirable inspirations from the vegetable kingdom1 from the marine fauna and flora1 after the picturesque studies of birds and deer which the ,ionians had transmitted to the ,corinthian and ,attic potters1 we see ,greek painting gradually eliminating all this from design1 in order to devote itself exclusively to the representation of the human form4 ,nothing can turn it aside from this course4 ,whether it is a question of gods and goddesses1 heroes1 or even citizens1 it is always the human form in all its aspects1 in all its attitudes1 dignified or familiar1 which the draughtsman observes4 ,nowhere has such complete absorption of the artistic imagination been seen4 ,later1 after ,alexander1 the ,greeks themselves somewhat modified their attitude1 and learnt once more to contemplate non-human nature2 but the limits within which ,greek thought had voluntarily confined itself remained severe during the century of ,pericles4 ,according to an expression of ,victor ,brard1 it was a garden of humanity in which man was the most beautiful plant4 ,to this bias we owe some of the purest masterpieces of which humanity can boast4 ,those of sculpture are famous in all lands2 those of painting were no less worthy of admiration1 but we only can judge them by the designs on vases4 ,theseus and the ,marathonian ,bull on the kylix by ,euphronios 7,fig4 #ab71 the ,memnon by ,douris 7,fig4 #h71 or the ,zeus carrying off a ,woman upon an anonymous kylix in the ,louvre 7,fig4 #bd7 which is attributed to him1 the ,aphrodite on the ,swan in the ,british ,museum 7,fig4 #g7 by a somewhat later artist1 bear comparison with the most beautiful drawings of the ,renaissance4 ,never has the beauty of the human form in motion been rendered with more sincere joy4 ,here1 again1 the ,greeks prepared the path for the moderns1 teaching the dignity of man by proving him to be more important and necessary in art than all else4 ,it is no longer ,nature ruling and crushing with its immensity mankind ignorant of itself4 ,it is human thought1 on the contrary1 projecting itself on the external world1 and taking possession of it4 ,illustration3 ,fig4 #bd4 ,,zeus ,,carrying ,,off ,a ,,woman4 ,louvre ,museum4 ,this is why we admire ancient art1 and why a drawing by ,douris tells us so many things4 ,doubtless ,douris has his message4 ,he never suspected it2 he did not make it his aim2 he was the unconscious instrument of a great people and of a great revolution4 ,this it is which makes works of the past of such great value4 ,only time can show what they contained of beauty and of fertility1 even unknown to their authors4 ,the creative force animating them is beyond the individual2 it springs from the depths of the race which produces them4 ,the sculptor who fashioned the ,venus of ,melos could not foresee the fame his statue would achieve1 which he probably executed after many other similar ones4 ,leonardo da ,vinci would be greatly surprised at what we see in his ,gioconda4 ,anatole ,france says3 8,each generation imagines anew the antique masterpieces1 and in this manner communicates to them a progressive immortality40 ,it is not that we are duped by a delusion1 but time has done its work2 moving on1 it has discovered unexpected worth in certain objects4 ,renan made the profound remark1 8,admiration is historic40 ,indeed1 not only is distance necessary1 but the wearing effect of centuries1 to distinguish the good from the bad1 the eternal from the perishable1 to recognize the actual importance of a thought or an invention4 ,those who love to meditate will not go in vain to the ,louvre to look at the kylix of ,eos and ,memnon4 ,they will see a reflection of that which formed the grandeur and beauty of ,greek painting during the most flourishing period of its history1 and they will recognize in one of its noblest expressions an art for ever lost4 ,illustration3 ,fig4 #be4 ,a ,painter at ,work1 ,boston ,museum4 ,,bibliography ,,roulez1 in ,nuove ,memorie dell' ,instituto1 ii41 #ahfe1 p4 #cic4 ,,helbig1 in ,annali dell' ,instituto arch41 xlv41 #ahgc1 p4 #ec4 ,,froehner1 ,les ,muses de ,france1 #ahgc1 p4 #cg4 ,,rayet-,,collignon1 ,hist4 de la ,cramique ,grecque1 #ahhh1 p4 #agh4 ,,luckenbach1 in ,jahrbuch fr class4 ,philologie1 suppl4 ,band xi41 #ahhj1 p4 #eah;f4 ,,carl ,,robert1 ,bild und ,lied1 #ahha1 pp4 #bh1 #hg1 #ih1 #bad4 ---- ,scenen der ,ilias und ,aithiopis1 #ahia4 7,,xv4 ,hallisches ,winckelmanns ,programm47 ,,meier1 in ,archol4 ,zeitung1 #ahhc1 p4 #a4 ,w4 ,,klein1 ,euphronios1 #ahhf4 ---- ,die griech4 ,vasen mit ,meistersignaturen1 #ahhg4 ---- ,die griech4 ,vasen mit ,lieblingsinschriften1 #ahih4 ,,tsountas1 in ,ephmris archologique d',athnes1 iii41 #ahhf1 p4 #dj4 ,,loewy1 in ,jahrbuch des deutsch4 arch4 ,instituts1 iii41 #ahhh1 p4 #aci4 ,,jane ,e4 ,,harrison1 in ,journal of ,hellenic ,studies1 x41 #ahhi1 p4 #bca4 ---- ,greek ,vase ,paintings1 #ahid1 p4 #ba4 ,,reisch1 in ,mittheilungen des arch4 ,inst4 ,rmische ,abth41 v41 #ahij1 p4 #cca4 ---- in ,festschrift fr ,gomperz1 #aijb1 p4 #dei4 ,f4 ,d,,mmler1 in ,bonner ,studien1 #ahij1 p4 #gg4 ,p4 ,,hartwig1 ,die griech4 ,meisterschalen1 #ahic1 pp4 #bjj;f41 #ehc;f4 ,,furtw,,ngler ,,and ,,reichhold1 ,die griech4 ,vasenmalerei1 #aijd1 pp4 #gf1 #aad1 #bdf1 #bfg4 ,,michaelis1 in ,archologische ,zeitung1 #ahgc1 p4 #a4 ,,murray1 ,designs from ,greek ,vases1 #ahid1 p4 #ab;f4 ,,tarbell1 in ,american ,journal of ,archology1 #aijj1 iv41 p4 #ahc4 ,,birch1 ,hist4 ,ancient ,pottery1 ed4 ,walters1 #aije1 i41 p4 #dcd4 ,,index ,achilles1 #ej1 #fb1 #fd1 #fg ,acropolis1 #ag1 #ac1 #gb gina1 temple at1 #gj schylus1 #ba1 #fb1 #fd ,africa1 #ad1 #ae ,agamemnon1 #b1 #fa1 #fd ,ajax1 #cb1 #df1 #dh1 #fa1 #fd ,alexander1 #b1 #hc ,amasis1 #aa ,amphitrite1 #ef ,amphora1 #af1 #cj ,anaphlystos1 deme of #aa ,antenor1 #ah ,apelles1 #bi ,aphrodite1 #dh ---- on her swan1 #hd ,apollo1 #dh ,arktinos of ,miletos1 #df1 #dg ,artemis1 #dh ,athene1 #ah1 #df1 #dh1 #ec1 #fb ,athenian pottery1 #f ,athenians1 ,treasury of1 #gj ,athens1 #b1 #aj1 #af1 #bg ,attic craftsmen1 #e ---- taste1 #ad ,augustus1 #b ,brard1 ,victor1 #hc ,berlin ,museum kylix1 #gg ,bes of the ,egyptians1 #fj ,black figured vases1 #ah ---- glaze1 #ab1 #bf1 #bg1 #ce;f1 #di ,botia1 #bg ,boulle1 #cd ,british ,museum1 #ea1 #eg1 #hc ,brunn1 #c1 #df ,brushpainters #bg1 #bh1 #bi1 #ce ,brussels ,museum1 #h1 #ah ,brygos1 #f1 #aa1 #ba1 #cc1 #eb1 #fj1 #gc ,caere1 #af ,chalkis1 #af ,chakrylion1 #ge ,chiaro oscuro1 #e ,china1 #ae ,christ1 #ea ,cimabue1 ,madonna of1 #ee ,clay1 #ab1 #bf ,coppe amatorie1 #da ,corinth1 #af ,corot1 #fi ,craftsman1 #ab ,crete1 #b ,crimea1 #ad ,cyrenaica1 #ad ,datis and ,artaphernes1 #ga ,delphi1 #gj ,demons of destruction1 #ci ,dipylon ,gate1 #ad ---- vases1 #fe ,doris1 #aa ,douris1 #a1 #e1 #f1 #g1 #ah1 #ba1 #be1 #ca1 #cc1 #dd1 #eg1 #fj1 #fb1 #fe1 #gb1 #gc1 #hj ,editio princeps1 #cb ,egypt1 #ha ,eos1 the ,dawn1 #de ---- and ,memnon1 #dd1 #ej1 #ea1 #ei1 #fc1 #ff1 #hf 8,epic0 manner1 #fc ,epiktetos1 #aa1 #ge ,ergotimos1 #aa ,etruria1 #ad1 #cc ,etruscan tombs1 #ad1 #af ,euphronios1 #f1 #h1 #aj1 #aa1 #ag1 #ba1 #ca1 #fg1 #gc1 #gi ,euthymedes1 #i1 #aj1 #da ,fantin-,latour1 #fi ,flanders1 #be ,france1 ,anatole1 #he ,genre pictures1 #bd ,girard1 ,paul1 #d1 #gi ,greece1 #d ,greek camps1 #fg ---- ceramics1 #e ---- paintings1 #b1 #d1 #f1 #fd ---- pictures1 #bd ---- theatre1 #fb1 #fd ,hartwig1 #ai1 #fi ,hector1 #cb1 #ea ,hellenic age1 #b ,hera1 #fj ,herakles1 #ei1 #fj1 #gj ,herculaneum1 #b1 #c ,hermes1 #eh1 #fj ,hierarchy1 social1 #ac ,hieron1 #f1 #aa1 #eg1 #gc ,hippias1 #e ,history of vases1 #ac ,homer1 #cb1 #dg;f4 ,hoplites1 #cb ,hydria1 #af ,iliad1 #dg1 #fe ,ingres1 #hb ,ionian artists1 #fj ---- origin1 #ab ,iolaos1 #ei ,iphigeneia1 #fd ,iris1 #fj ,islands1 the1 #ae ,isocrates1 #bj ,italy1 #af ---- southern1 #ad1 #bg ,japan1 #ae ,japanese draughtsman1 #eh ---- painters1 #cf ,juno1 #ef ,jupiter1 #ef ,kalliades1 #dd ,kantharos1 #af ---- at ,brussels1 #ed ,kerameikos1 #b1 #ab1 #dg ,kimon of ,kleonai1 #gd ,klazomenai1 #fj ,klein1 #h ,kleomenes1 son of ,nikias1 #aa ,klitias1 #aa ,kolchos1 #aa ,krater1 #af1 #cj ,kylix1 #af1 #cj1 #ca ,lange1 ,julius1 #hj ,learnan hydra1 #ei ,lekythos1 #af ,lippi1 ,madonna by1 #ee ,lucian1 #b ,louvre ,museum1 #eb1 #ec1 #fa1 #fd1 #ga1 #gf1 #hf ----1 kylix at the1 #ed ,lydian modes1 #gh ,lydos1 #aa ,lysippos1 #a ,mandrocles1 #gb ,mantegna1 #ej ,marathon1 #gj1 #ga ,martial subjects1 #dc ,mater dolorosa1 #ej ,medusa1 #ei ,megakles1 #aa ,melos1 #b1 #ad ,memnon1 ,king1 #de ,menelaos1 #cb1 #de ,metics1 #aj1 #ad ,michelangelo1 #b ,miltiades1 #gb ,minos1 #b1 #ea ,minotaur1 #ec ,mikon1 #eb ,munich ,museum1 #db ----1 hydria at1 #bc1 #be ,music1 #gh ,mycen1 #b ,mycenan age1 #bg ,mythological subjects1 #dc ,nature1 #bj1 #ba1 #cb1 #ej1 #ha ,nearchos1 #ah ,necropolis1 #ad ,neoptolemos1 #fb ,nereids 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,subjects of daily life1 #dc ,terracotta tablets1 #bc ,theseus1 adventures of1 #ea ---- and the ,minotaur1 #ca ,thetis1 ,rape of1 #ed ,thracian ,chersonese1 #ad ,thrax1 #aa ,tiryns1 #b ,titus1 #b ,trade mark1 #af ,trojan horse1 #gj ---- war1 #de1 #dg1 #fb ,trolos1 #fg ,tyrrhenian ,sea1 #ad ,ulysses1 #ej1 #fb ,urbino1 #d ,van der ,weyden1 ,roger1 #ej ,van ,eyck1 #hb ,venus of ,melos1 #he ,vienna ,museum1 kylix1 #fa1 #fg ,vinci1 ,leonardo da1 #ei1 #he ,volsinii1 #af ,woltmann1 #c ,xerxes1 #ga ,zeuxis1 #d1 #bj ,,printed ,,at ,,the ,,edinburgh ,,press1 #i ,,and #aa ,,young ,,street4 99 99 99 99 99 99 ,transcriber's note3 ,punctuation1 hyphenation of individual compound words1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4 ,the book's hyphenation patterns were inconsistent4 ,simple typographical errors were corrected2 unpaired quotation marks were remedied when the change was obvious1 and otherwise left unpaired4 ,illustrations in this e,book have been positioned between paragraphs and outside quotations4 ,in versions of this e,book that support hyperlinks1 the page references in the ,list of ,illustrations lead to the corresponding illustrations4 ,the index was not checked for proper alphabetization or correct page references4 ,page xiv3 8,wiener ,vorlegebltten0 should be 8,wiener ,vorlegebltter04 ,page #hg3 8,ephmris archologique d',athnes0 should be 8,ephmris archologique d',athnes04