ave, and other
designs, and is called the "geometrical" style. Later on
animals, rosettes, and vegetation appear that show Assyrian
influence. The decoration is profuse and the rude human
figure subordinate to it. The design is in black or
dark-brown, on a cream-colored slip. The third kind of ware
is the archaic or "strong" style. It dates from 500 B.C. to
the Peloponnesian Wars, and is marked by black figures upon
a yellow or red ground. White and purple are also used to
define flesh, hair, and white objects. The figure is stiff,
the action awkward, the composition is freer than before,
but still conventional. The subjects are the gods,
demi-gods, and heroes in scenes from their lives and
adventures. The fourth kind of ware dates down into the
Hellenistic age and shows red figures surrounded by a black
ground. The figure, the drawing, the composition are better
than at any other period and suggest a high excellence in
other forms of Greek painting. After Alexander, vase
painting seems to have shared the fate of wall and panel
painting. There was a striving for effect, with ornateness
and extravagance, and finally the art passed out entirely.

There was an establishment founded in Southern Italy which
imitated the Greek and produced the Apulian ware, but the
Romans gave little encouragement to vase painting, and about
65 B.C. it disappeared. Almost all the museums of the world
have collections of Greek vases. The British, Berlin, and
Paris collections are perhaps as complete as any.

[Illustration: FIG. 14.--AMPHORE, LOWER ITALY.]

ETRUSCAN AND ROMAN PAINTING.

BOOKS RECOMMENDED: See Bibliography of Greek Painting and
also Dennis, _Cities and Cemeteries of Etruria_; Graul, _Die
Portratgemalde aus den Grabstatten des Faiyum_; Helbig, _Die
Wandgemalde Campaniens_; Helbig, _Untersuchungen uber die
Campanische Wandmalerei_; Mau, _Geschichte der Decorativen
Wandmalerei in Pompeii_; Martha, _L'Archeologie Etrusque et
Romaine_.

ETRUSCAN PAINTING: Painting in Etruria has not a great deal of
interest for us just here. It was largely decorative and sepulchral in
motive, and was employed in the painting of tombs, and upon vases and
other objects placed in the tombs. It had a native way of expressing
itself, which at first was neither Greek nor Oriental, a