Fig. 14.--AMPHORE, LOWER ITALY.
THE VASES: The history of Greek painting in its remains is traced with some accuracy in the decorative figures upon the vases. The first ware--dating before the seventh century B.C.--seems free from oriental influences in its designs. The vase is reddish, the decoration is in tiers, bands, or zigzags, usually in black or brown, without the human figure. The second kind of ware dates from about the middle of the seventh century. It shows meander, wave, and other designs, and is called the "geometrical" style. Later on animals, rosettes, and vegetation appear that show Assyrian influence. The decoration is profuse and the rude human figure subordinate to it. The design is in black or dark-brown, on a cream-colored slip. The third kind of ware is the archaic or "strong" style. It dates from
500 B.C. to the Peloponnesian Wars, and is marked by black figures upon a yellow or red ground. White and purple are also used to define flesh, hair, and white objects. The figure is stiff, the action awkward, the composition is freer than before, but still conventional. The subjects are the gods, demi-gods, and heroes in scenes from their lives and adventures. The fourth kind of ware dates down into the Hellenistic age and shows red figures surrounded by a black ground. The figure, the drawing, the composition are better than at any other period and suggest a high excellence in other forms of Greek painting. After Alexander, vase painting seems to have shared the fate of wall and panel painting. There was a striving for effect, with ornateness and extravagance, and finally the
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art passed out entirely.
There was an establishment founded in Southern Italy which imitated the Greek and produced the Apulian ware, but the Romans gave little encouragement to vase painting, and about 65 B.C. it disappeared. Almost all the museums of the world have collections of Greek vases. The British, Berlin, and Paris collections are perhaps as complete as any.
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ETRUSCAN AND ROMAN PAINTING.
Books Recommended: See Bibliography of Greek Painting and also Dennis, Cities and Cemeteries of Etruria; Graul, Die Portrat-gemalde aus den Grabstatten des Faiyum; Helbig, Die Wandgemalde Campaniens; Helbig, Untersuchungen uber die Campanische Wandmalerei; Mau, Geschichte der Decorativen Wandmalerei in Pompeii; Martha, L'Archeologie Etrusque et Romaine.
ETRUSCAN PAINTING: Painting in Etruria has not a great deal of interest for us just here. It was largely decorative and sepulchral in motive, and was employed in the painting of tombs, and upon vases and other objects placed in the tombs. It had a native way of expressing itself, which at first was neither Greek nor Oriental, and yet a reminder of both. Technically it was not well done. Before
500 B.C. it was almost childish in the drawing. After that date the figures were better, though short and squat. Those on the vases usually show outline drawing filled in with dull browns and yellows. Finally there was a mingling of Etruscan with Greek elements, and an imitation of Greek methods. It was at best a hybrid art, but of some importance from an archaeological point of view.
ROMAN PAINTING: Roman art is an appendix to the art history of Greece. It originated little in painting, and was content to perpetuate the traditions of Greece in an imitative way. What was worse, it copied the degeneracy of Greece by following the degenerate Hellenistic paintings. In motive and method it was substantially the same work as that of the Greeks under the Diadochi. The subjects, again, were often taken from Greek story, though there were Roman historical scenes, genre pieces, and many portraits.
FIG. 15.--RITUAL SCENE, PALATINE WALL PAINTING. (FROM WOLTMANN AND WOERMANN.)
In the beginning of the Empire tablet or panel painting was rather abandoned in favor of mural decoration. That[33] is to say, figures or groups were painted in fresco on the wall and then surrounded by geometrical, floral, or architectural designs to give the effect of a panel let into the wall. Thus painting assumed a more decorative nature. Vitruvius says in effect that in the early days nature was followed in these wall paintings, but later on they became ornate and overdone, showing many unsupported architectural facades and impossible decorative framings. This can be traced in the Roman and Pompeian frescos. There were four kinds of these wall paintings. (1.) Those that covered all the walls of a room and did away with dado, frieze, and the like, such as figures with large landscape[34] backgrounds showing villas and trees. (2.) Small paintings separated or framed by pilasters. (3.) Panel pictures let into the wall or painted with that effect. (4.) Single figures with architectural backgrounds. The single figures were usually the best. They had grace of line and motion and all the truth to nature that decoration required. Some of the backgrounds were flat tints of red or black against which the figure was placed. In the larger pieces the com[35]position was rather rambling and disjointed, and the color harsh. In light-and-shade and relief they probably followed the Greek example.
FIG. 16.--PORTRAIT-HEAD. (FROM FAYOUM, GRAF COL.)
ROMAN PAINTERS: During the first five centuries Rome was between the influences of Etruria and Greece. The first paintings in
Rome of which there is record were done in the Temple of Ceres by the Greek artists of Lower Italy, Gorgasos and Damophilos (fl.
493 B.C.). They were doubtless somewhat like the vase paintings--profile work, without light, shade, or perspective. At the time and after Alexander Greek influence held sway. Fabius Pictor (fl. about 300 B.C.) is one of the celebrated names in historical painting, and later on Pacuvius, Metrodorus, and Serapion are mentioned. In the last century of the Republic, Sopolis, Dionysius, and Antio-
chus Gabinius excelled in portraiture. Ancient painting really ends for us with the destruction of Pompeii (79 A.D.), though after that there were interesting portraits produced, especially those found in the Fayoum (Egypt).[1]
[1] See Scribner's Magazine, vol. v., p. 219, New Series.
EXTANT REMAINS: The frescos that are left to us to-day are largely the work of mechanical decorators rather than creative artists. They are to be seen in Rome, in the Baths of Titus, the Vatican, Livia's Villa, Farnesina, Rospigliosi, and Barberini Palaces, Baths of Caracalla, Capitoline and Lateran Museums, in the houses of excavated Pompeii, and the Naples Museum. Besides these there are examples of Roman fresco and distemper in the Louvre and other European Museums. Examples of Etruscan painting are to be
seen in the Vatican, Cortona, the Louvre, the British Museum and elsewhere.
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CHAPTER IV. ITALIAN PAINTING.
EARLY CHRISTIAN AND MEDIAEVAL PERIOD. 200-1250.
Books Recommended: Bayet, L'Art Byzantin; Bennett, Christian Archaeology; Bosio, La Roma Sotterranea; Burckhardt, The Cic-erone, an Art Guide to Painting in Italy, ed. by Crowe; Crowe and Cavalcaselle, New History of Painting in Italy; De Rossi, La Roma Sotterranea Cristiana; De Rossi, Bullettino di Archeologia Cristiana; Didron, Christian Iconography; Eastlake (Kugler's), Handbook of Painting--The Italian Schools; Garrucci, Storia dell' Arte Cristiana; Gerspach, La Mosaique; Lafenestre, La Peinture Italienne; Lanzi, History of Painting in Italy; Lecoy de la Marche, Les Manuscrits et la Miniature; Lindsay, Sketches of the History of Christian Art; Martigny, Dictionnaire des Antiques Chretiennes; Perate, L'Archeologie Chretienne; Reber, History of Mediaeval Art; Rio, Poetry of Christian Art; Lethaby, Medieval Art; Smith and Cheetham, Dictionary of Christian Antiquities.
RISE OF CHRISTIANITY: Out of the decaying civilization of Rome sprang into life that remarkable growth known as Christianity. It was not welcomed by the Romans. It was scoffed at, scourged, persecuted, and, at one time, nearly exterminated. But its vitality
was stronger than that of its persecutor, and when Rome declined, Christianity utilized the things that were Roman, while striving to live for ideas that were Christian.
FIG. 17.--CHAMBER IN CATACOMBS, SHOWING WALL DECORATION.
There was no revolt, no sudden change. The Christian idea made haste slowly, and at the start it was weighed down with many pa-ganisms. The Christians themselves in[37] all save religious faith, were Romans,