Chapter XV

.). There was also in the fifth century a fondness for vases modelled in the form of heads of negroes or Persians. Such subjects as those relating to Orpheus, the rape of Oreithyia, Herakles and Busiris, or combats of Greeks with Amazons or Persians, also illustrate the popularity of these new ideas.

The only other class of subjects to which reference need be made is that dealing with religious cults,[1313] such as libations or sacrifices to deities or terminal figures, particular ceremonies and festivals, or quasi-religious competitions of an athletic or musical kind.[1314]

In regard to style, the Attic red-figured vases fall into four principal groups, which are usually classified as follows (though each group is sometimes subdivided):—

(1) =The archaic or severe period= (about 520–500 B.C.), in which there is little advance in the drawing, which is stiff and lacks technical freedom. Apart from the new experiments in technique, it is marked by its wide and novel choice of subjects, with great attention paid to details. The principal artists whose signatures are found in this group are: (_a_) cup-painters—Epiktetos, Hischylos, Pheidippos, Pamphaios, Chelis, Chachrylion, Euergides, Epilykos, Hermaios, Sikanos; (_b_) other painters—Andokides, Euthymides, Phintias (amphora and hydria), Hypsis (hydria), Psiax and Hilinos.

(2) =The strong style= (about 500–460 B.C.), characterised by a great and sudden advance in drawing and power of expression, which leads the painter to attempt difficult subjects with success. The difficulties of front-view or three-quarter drawing, as opposed to the old profile-figures, are also largely overcome. In the amphorae and other forms the compositions are restrained and dignified, being often limited to one or two figures in large style. The principal artists are: (_a_) cup-painters—Euphronios, Oltos, Sosias, Phintias, Peithinos, Duris, Hieron, Brygos, Amasis, Onesimos; (_b_) other artists—Euxitheos, Smikros.

(3) =The fine style= (about 460–440 B.C.) exhibits the culmination of technique and composition, with great breadth and largeness of conception in the larger vases, delicacy and refinement in the smaller. Cup-painting has passed its zenith, and yields comparatively few artists’ names. In this period the influence of Polygnotos and the great painters begins to make itself felt, in a tendency to more pictorial composition; landscape is indicated, and figures are placed at different levels. The influence of sculpture may also be traced. The chief artists' names are: Aeson, Aristophanes and Erginos, Epigenes, Hegias, Hermonax, Megakles, Polygnotos, Sotades, and Xenotimos; Meidias and Nikias; Xenophantos.

(4) =The late fine style= (about 440–400 B.C.) is marked by a great falling-off in every respect. The extraordinarily rapid advance, both in artistic conception and in power of execution, during the preceding fifty years, fostered by the concurrent advance in sculpture and painting, hastened the vase-painter to his ruin. With the attainment of perfection in drawing, dexterity and grace are his sole aim, and in place of vigour and originality we meet with over-refinement and mannerisms, and florid pictorial compositions executed in a careless manner.

We now propose to speak in detail of the principal artists of this period, a study of whose works will be sufficient to give a clear idea of the achievements of the new style, at all events down to the middle of the century.[1315] After that time the signatures become so rare that the later vases are best treated as a whole.

It is important to note, by way of preliminary, the various methods of signature which the artists adopt (see also