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Thanks to the study devoted to painted vases, we are now able to get a better idea of and throw a little more light on the style and composition of Greek painting. M. Paul Girard’s book, La Peinture Antique is an instance. Nearly all the illustrations in the chapters devoted to classic Greece are taken from the decoration of vases. To return to a comparison made above. One who knew nothing of Raphael’s work, but who had seen some faïence of Urbino reproducing certain works of the time, would in every way be more capable than those who had not of understanding the master’s composition and his style. He would undoubtedly still lose many things. He never would realise the harmony of his colours or the loftiness and purity of his designs. This is, alas! what we must say, in comparing the painting of a Greek vase with the lost paintings of Polygnotos or Zeuxis. The reflection of a lost art is all that remains to us!

Fig.2.THE WORKSHOP OF A VASE PAINTER.

Caputi Collection, Ruvo.

We should add, however, that the distinction between Greek manufacturers and their models must have been less marked than in later ages. Of this we cannot give material proof, but from certain details we arrive at this conclusion. On the one hand, the Attic craftsman was endowed, as rarely any one has been, with the art of design and the sense of style. On the other hand, the ancient fresco, particularly of the fifth century, was only drawing in flat colours, without shading or modelling. Hence, 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 oscuro. In Greece, a painter of frescoes or a painter of vases was above all things a good draughtsman. Here is a common measure which reduces the distance between them.