PAINTING. 71 
several ornaments are painted in white. 2g. 2 shows a vase on which is 
a Bacchante with a thyrsus and a wreath also; the other side of this vase is 
given in jig. 4, and shows a youth walking with a staff. 7g. 2 exhibits a 
cinerary urn with ornaments painted on it; and jig. 4 also a pitcher with a 
handle, on which is painted a priest sitting under palms. Jig. 3 is the 
reverse of the vase in pl. 12, jig. 5, and represents Iphigenia on the altar 
of Diana Taurica, and near her Orestes and Pylades. According to 
Millingen, the figure seated on an altar is Io (in which case the horn would 
indicate her metamorphosis into a heifer); she is imploring the protection 
of a king, behind whom appears a Satyr. A companion of Io is awaiting 
the event. Behind the altar stands on a pillar the statue of the goddess, 
near which hovers a winged genius. 
Some of the vases have black figures on a red ground, others black or 
violet figures on a yellow ground, and others yellow or red figures on a 
black ground. Sometimes we find blackish or black vessels with figures 
and ornaments slightly raised or depressed. One of the finest vases was 
found in the year 1845 by Alexander Frangais, at Chiusi. It is very large 
and is now at Florence; it has black figures on a red ground, with white and 
red lights laid on and the finest sgraffito drawings accompanied by 115 
Greek inscriptions relative to the mythological scenes (among which is the 
Wedding of Peleus and Thetis) and giving the names of the potter, Ergoti- 
mos, and of the painter, Klitias. 
OC. The Greeks and Romans. 
Among the Greeks also painting became an independent art later than 
sculpture; which perhaps was partly owing to the fact that Grecian 
civilization had little need of it. Homer speaks only of garments with 
figures interwoven, of ships painted over, and of horse-trappings of colored 
ivory; and in his time, and doubtless long afterwards, painting consisted 
wholly in coloring images and reliefs of clay and wood. The first advances 
in painting are ascribed to the Corinthians and Sicyonians; and it is 
asserted, though without much credibility, that Cleanthes of Corinth 
invented linear drawing, that Cleophantes of Corinth was the inventor of 
monochromes, or paintings of single colors, and that Eumacros of Athens 
was the first@who distinguished men from women in his drawings, perhaps 
by a lighter color. 
In Corinth, where the manufacture of fictile vases attained such a pitch 
of perfection, we find the first union of painting with the art of pottery, 
which at the same time was in vogue among the Etruscans. The fabrication 
of vases was divided into two main branches: the light yellow vases without 
gloss, of broad and depressed forms, with red, brown, violet, and black 
figures, and animal shapes mostly of an arabesque character; and the red 
and dark yellow varnished vases, of a more tasteful form, and with black 
figures chiefly of a mythological nature. Both kinds were made in Greece 
as well as in Italy, and the oldest are distinguished by the rudeness and 
clumsiness of the figures, and especially by the stiffness of their attitudes, 
the scenes they represent belonging mostly to the Dionysan myth. 
455 
