§8. WANT OF PROPORTION. 181 



those of the best Greek period, from 450 to 350 B.C. ; and the 

 introduction of numerous figures on the same field, together 



(3.) 



Fig. 1. Fig. 2. Fig. 3. 



with a greater luxury of ornament, proclaims a deficiency of 

 real taste and the declining condition of art. 



It is this want of proportion which spoils the generality of 

 the richly-coloured glass vases of Bohemia, showing that the 

 skill of the makers in the manufacture of the material far 

 exceeds their taste and correctness of eye. And if really 

 intentional, and not an accidental caprice, it is probably 

 owing to some preconceived notion about height giving light- 

 ness and grace. And this often misleads persons incapable 

 of feeling the beauty of symmetry.] Grace and beauty of 

 form in vases have not certainly been the forte of the Ger- 

 mans at any time ; and their celebrated stoneware * of the 

 Renaissance period has a heaviness and want of grace, though 

 frequently of great pretensions, which our modern imitators 

 of mediaeval works would do well to avoid. Nor can I abstain 

 from calling attention to the glaring want of proportion be- 

 tween the body and stem of a noted vase at Berlin (a copy of 

 which is exhibited in the nave of the Sydenham Palace, and 

 marked 169), which I should be sorry to see imitated in this 

 country. 



8. It is true that the larger Italo-Greek vases f of Southern 



* See Labarte, pp. 312, 313, and German, Flemish, and Dutch ware in 

 Marryatt, pp. 124—129, 265. 

 f Sometimes mis-called Apulian. 



n 3 



