style, the "red-figiued." begins to displace the
"black-figured" technique. Here the body of the
vase is covered with the black glaze, the figures
being left in the color of the clay, while details
are represented by fine black lines. The greater
delicacy which this style made possible brought
it at once into favor, and in it were executed the
great masterpieces of Greek ceramic art.
Painting in Greek archa-ology can hardly be separated from ceramics, architecture, and sculp- ture before the time of Polygnotus (Fifth Cen- turv B.C. ) We therefore take up next the consid- eration of these two latter developments, in brief outline, referring for details to the special arti- cles on Greek Abt; and Architecture.
The history of the origin of Hellenic architec- ture rests largely upon conjecture and reasoning from analogs'. Although in its development, as known to us" from existing monuments, we have to deal with it as manifested chiefly in temple- building (private dwellings being of compara- tivelv little account among the Greeks), it is plain that we have to seek for its primitive principles in domestic structures, which were of sun-dried brick and wood. It is during this period that the temple forms became fixed, and the oldest stone buildings erected, though the full perfection of architecture is not manifested till the Fifth Century. The point, however, which chiefly concerns us in this place, is the rise of the two great orders, connected, as their names im- ply, with the two great branches of the Greek race — the Dorians and the lonians. The main distinguishing marks of these orders are to be found in the form of the columns employed : and it is to these that we must turn our attention here, leaving the discussion of the several vari- eties of temple, whether in ant is (with the front recessed and columns between the projections of the side walls), prostyle (with columns across the front), amphiprostyle (with a front at either end ) , or peristyle ( surrounded by columns ) , as well as the details of the architrave and roof, for another page.
The Doric column, which we find to have been emploved in the Hera>um at Olympia, in the old ' temple at Corinth, and in those of Selinus, as well as in other buildings of this and the suc- ceeding periods, and which is traceable to the Seventh Century B.C., is characterized in general by the absence" of a distinct base (though this seems clearly to have been an original element of this species of column ) , by an outward sweep at the top called the echinus, and by a square plate (the abacus) between the echinus and the architrave, as well as by the fact that the edges of the fluting (q.v.) are sharp, and not flat, as in the Ionic. The nearest prototypes of this form of column, which is marked, particularly in the oldest examples knovn to us, by great heavi- ness of proportion, seem to be Egyptian, al- thoigh Doric architecture offers a new element in the entasis (or slight bulge) in the shaft, which serves to correct a familiar optical illu- sion.
The Ionic column, on the other hand, which is of lighter and more ornamental design, has al- ways a distinct base, with a succession of mold- ings above it, while the grooves in its shaft do not meet in arrises, but are separated by flat bands. Its chief point of interest, the capital, consists of double spirals, parted in the earlier forms by a palmette device. Over the origin of this form of capital much has been written ; and although the question is not as yet settled, it seems likely that it goes back to an Oriental jirototype, whether a conventionalized Assyrian palm-fonn or a derivative of the Egyptian lotus. See American Journal of ArchcEology 1S86, pp. 1-20, "A proto-Ionic Capital," by .J. T. Clarke; id., pp. 2G7-283, "A Doric Shaft and Base Found at Assos," same author (containing a full bib- liography of the subject in lioth articles) ; Good- year, id., p. 271 sqq. (an attempt to derive all palmette as well as lotus patterns from tlie Egyptian lotus), and especially, Puchstein, Das ionische Capital (Berlin, 1887).
The Corinthian capital, with its acanthus leaves, so extensively used by the Romans on ac- count of its more elaborate character, may be considered a variety of the Ionic influenced by metal-work. It does not come into use until the next period, and was never very common until after the Fourth Century B.C. (Of. Baunieister, op. cit., art. Bauktinst, with the authorities there cited.)
While in painting, metal-work, and architec- ture, it is possible to trace the connection from the ^Iycena?an Age. in sculpture the line seems aliruptly broken. It is not till the latter part of the Seventh Century n.c. that monumental sculpture, whetlier in the round or in relief, again begins to develop among the Hellenes. We find shapeless fetiches of wood and stone vener- ated in various parts of Greece down to the Sec- ond Century ..d.. and later. A step beyond this primitive worship brings us to rude cultusstat- ues of wood and stone. We should expect the same Oriental influences to manifest themselves here as in the case of ceramic art; and when we look to the early statues themselves, such as the various so-called Apollo-figures of the Seventh and Sixth centuries (typical is the famous "Apollo of Tenea," in ilunich), we seem to find unmistakably Egyptian elements. The angular- ity of the figure, the heavy masses of hair, the high set of the ears, the advancement of the left leg in such statues are unmistakable reminis- cences of Egyptian works, with which the Greeks were especially brought into contact about this period. On the other hand, statues like the "Xicandra" of Islos. the "Hera" of Samos, and other closely draped female figures, with the feet just appearing below the drapery, may be com- l>ared with the seated statues from Branchidfe, in the British Jluseum, and with what seem to be their older Chaldican prototypes from Tel-lo. The closely draped standing female figures show- markedly the influence of sculpture in wood ; either from the flat board, as the "Xicandra," or the round log, as the "Hera." Such works are frequently spoken of as Xoana. Though the in- spiration for these types may have been derived from the Asiatic connections of the lonians, and the trade with Egypt through Naucratis. the Greek artist was by no means a mere imitator, but early began to strive after development and variety along various lines.
The series of works of archaic sculpture from the period under discussion has rapidly increased through recent excavations, and we are able to trace with tolerable clearness the attempts made by the vigorous Greek artists to gain increased naturalness and lifelikeness in their figures, while "radnallr acquiring the full mastery of material
