Fig. 11 shows you how these painted walls were sometimes divided; the principal subjects were surrounded by ornamental borders, and the spaces between filled in with all sorts of little compartments. The small spaces in this picture are quite regular in form; but frequently they are of varied shapes, and give a very decorative effect to the whole work. The colors used upon these different panels, as they may be called, were usually red, yellow, black, and white—more rarely blue and green. Sometimes the entire decoration consisted of these small, variously colored spaces, divided by some graceful little border, with a very small figure, plant, or other object in the centre of each space.
Fig. 10, of Demeter, or Ceres, enthroned is an example of such devotional paintings as were placed above the altars and shrines for private worship in the houses of Pompeii, or at the street corners, just as we now see pictures and sacred figures in street shrines in Roman Catholic countries. In ancient days, as now, these pictures were often done in a coarse and careless manner, as if religious use, and not art, was the object in the mind of the artist.
Fig. 12, of a Nest of Cupids is a very interesting example of Pompeian painting, and to my mind it more nearly resembles pictures of later times than does any other ancient painting of which I know.
MOSAICS.
The pictures known as mosaics are made by fitting together bits of marble, stone, or glass of different colors and so arranging them as to represent figures and objects of various kinds, so that at a distance they have much the same effect as that of pictures painted with brush and colors. The art of making mosaics is very ancient, and was probably invented in the East, where it was used for borders and other decorations in regular set patterns. It was not until after the time of Alexander the Great that the Greeks used this process for making pictures. At first, too, mosaics were used for floors or pavements only, and the designs in them were somewhat like those of the tile pavements of our own time.
This picture of doves will give you a good idea of a mosaic; this subject is a very interesting one, because it is said to have been first made by Sosos in Pergamos. It was often repeated in later days, and that from which our cut is taken was found in the ruins of Hadrian’s villa at Tivoli, near Rome; it is known as the Capitoline Doves, from the fact that it is now in the Capitoline Museum in Rome. Few works of ancient art are more admired and as frequently copied as this mosaic: it is not unusual to see ladies wear brooches with this design in fine mosaic work.
A few examples of ancient mosaics which were used for wall decorations have been found; they may almost be said not to exceed a dozen; but pavement mosaics are very numerous, and are still seen in the places for which they were designed and where they have been during many centuries, as well as in museums to which they have been removed. They are so hard in outline and so mechanical in every way that they are not very attractive if we think of them as pictures, and their chief interest is in the skill and patience with which mosaic workers combine the numberless particles of one substance and another which go to make up the whole.
Mosaic pictures, as a rule, are not large; but one found at Palestrina, which is called the Nile mosaic, is six by five metres inside. Its subject is the inundation of a village on the river Nile. There are an immense number of figures and a variety of scenes in it; there are Egyptians hunting the Nile horse, a party of revellers in a bower draped with vines, bands of warriors and other groups of men occupied in different pursuits, and all represented at the season when the Nile overflows its banks. This is a very remarkable work, and it has been proved that a portion of the original is in the Berlin Museum, and has been replaced by a copy at Palestrina.
PAINTINGS ON STONE.
It is well known that much of the decoration of Greek edifices was in colors. Of course these paintings were put upon the marble and stone of which the structures were made. The Greeks also made small pictures and painted them on stone, just as canvas and panels of wood are now used. Such painted slabs have been found in Herculaneum, in Corneto, and in different Etruscan tombs; but the most important and satisfactory one was found at Pompeii in 1872. Since then the colors have almost vanished; but Fig. 14, from it, will show you how it appeared when found. It represents the mythological story of the punishment of Niobe, and is very beautiful in its design.
VASE-PAINTING.
Vase-painting was another art very much practised by the ancients. So much can be said of it that it would require more space than we can give for its history even in outline. So I shall only say that it fills an important place in historic art, because from the thousands of ancient vases that have been found in one country and another, much has been learned concerning the history of these lands and the manners and customs of their people; occasionally inscriptions are found upon decorated vases which are of great value to scholars who study the history of the past.
The Dodwell vase shows you the more simple style of decoration which was used in the earlier times. Gradually the designs came to be more and more elaborate, until whole stories were as distinctly told by the pictures on vases as if they had been written out in books. The next cut, which is made from a vase-painting, will show what I mean.
The subject of Fig. 16 is connected with the service of the dead, and shows a scene in the under world, such as accorded with ancient religious notions. In the upper portion the friends of the deceased are grouped around a little temple. Scholars trace the manufacture of these vases back to very ancient days, and down to its decline, about two centuries before Christ. I do not mean that vase-painting ceased then, for its latest traces come down to 65 b.c.; but like all other ancient arts, it was then in a state of decadence. Though vase-painting was one of the lesser arts, its importance can scarcely be overestimated, and it fully merits the devoted study and admiration which it receives from those who are learned in its history.
From what we know of ancient Greek painting we may believe that this art first reached perfection in Greece. If we could see the best works of Apelles, who reached the highest excellence of any Greek painter, we might find some lack of the truest science of the art when judged by more modern standards; but the Greeks must still be credited with having been the first to create a true art of painting. After the decline of Greek art fifteen centuries elapsed before painting was again raised