ATTIC VASES.
Black Figure Period (uArchaie Style).— Until recent years all the black figure decorated pieces were considered of Attic production and were termed "Attic vases.° Later discoveries of the ware were made in Egypt (Naucratis), Rhodes, Cyrene, Corinth, thus disspelling the supposition of Attic monopoly. Copying the Corinthian methods, the Athenian artists soon excelled their prototypes and absorbed the en tire export field. Amphorae of the early stage have the designs in panels; favorite motifs are lotos, pahnetite, meander and rays, point upward, from the foot. The chiton (skirt) is depicted with rigid perpendicular folds; later the folds take oto que direction (to indicate motion). The hi• .ion (sort of shawl) started to be worn later . id appears over the chiton on vases. Men's eyes are large and round, women's small and oval, they are not in side view but stare out entire from faces in profile. The human extremities taper in an archaic way; figures are unnaturally tall and thin. Perspec tive is missing. Very shallow lcylikes decorated with eyes appear in this period. Many Pan athenaic amphora (prize vases filled with oil given at the Panathenaic games) are black figured; all have Athens on the obverse brand ishing a lance in her right hand, a shield in her left, the nude parts white. Columns on either side of her are surmounted usually by cocks. On the reverse side are scenes of the contests: foot-races, chariot-races, the pentathlon, boxing, musical competitions.
Dipylon These are so called be cause most of these "geometric° decorated vases were found in the graveyard in front of the dipylon gate. Their ornament (called 'geo metric))) consists of circles, crosses, lines, dots, with beautiful meanders interspersed. Later aquatic birds, deer and horses appear. The human form is attempted with archaic thin waists, angular shoulders, fork-formed legs.
Red Figure Period.—Termed often the "Beautiful° Style. Attic vases do not show black figures after about 400 B.C. The decora tion and background then reverse one another and the body is painted in black varnish while the decoration is left in reserve, thus appearing in the red of the terra-cotta body. Details on the figures, which before had been indicated in white or purple, or by scratching lines disclos ing the body, are done now by fine brush lines in black to bright yellow. The method gained in perfection from about 520 to 450 B.C. The kylix was the first vessel to obtain this new style ornamentation and we find hydria and amphora at that early stage still with black figures. Both methods in combination appear on some pieces of the transition period. The hair on human figures, before given a black mass, now is first done by engraving through the black, later by a thin line in reserve. The delineation of the eye changes in this red-figure period. Formerly the eye was given a full
faced detail, with circular pupil, on a face in profile; by stages the pupil and upper and lower lids assume the normal profile aspect. The later stage belongs to what has been termed the ((strong° style, as distinguished from the former "severe" style. A further advance in depiction, early in the 5th century, is in dis placing the stiff parallel folds of the chiton by waving folds that express the motion of the limbs and, in the artist Euphronios' day, the softness or pliability of the clothing is artisti cally expressed by indicating the form beneath by the direction of the folds of the drapery. The treatment of the human figure prevailing up to this period was taken from the Egyptian artists, and portrayed the shoulders and chest in front view while the rest of the figure was treated in profile. Perspective and foreshorten ing are arrived at in this period. It is the beginning of the °good° period.
We have, therefore, three stages of develop ment in this ((red figure° period. First, the ((archaic° period with its Oriental and Egyptian tendencies and somewhat crude depiction but adept draughtsmanship; next, the "severe" period with its human figures in stiffly drawn clothing and disproportioned features; lastly, the commencement of art refinement in draw ing and technique, as displayed in the "good" period. The "'beautiful" style was in its great est perfection about 450 B.C.
With the acquisition of absolute control and unexampled dexterity in both technique and draughtsmanship, comes soon a tendency to ultra-refinement and over-elaboration of orna ment lacking the former repose and graceful ness; the treatment becomes "florid.* Compo sition became careless, even coarse. In 413 s.c. the Athenians were beaten in battle at Syra cuse, in 404 Athens was captured by the Per sians. At some time between 427 and 405 the production of Attic vases died out. We have Panathenaic amphora dated from 376 to 313 s.c., and that white sepulchral lecythi were be ing produced in 392 we know, for Aristophanes mentions the fact. But excavations at Athens disclose no painted vases in the tombs dating from early 6th century to 300 B.C.
The names of these wonderful potter artists that have come down to us are very few and there is doubt as to whether some of the names appearing on the vases are signatures; they may often be the names of original owners of the art pieces. From the fact of frequent appearance on pieces showing the same crafts manship or other knowledge gained we get such names as Exekias and Nicosthenes (kylix painters); Andokides and Epictetos (transition black to red figure periods); Euphronios, Bry gos, Euthymides (5th century); Charinos (red figure period); Hieron (cup painter); Duris, etc.