arly pinched. The grouping is equally
imperfect. The single figures of compositions are loosely connected by
the general idea of the story. They have, as it were, a narrative
character; an attempt at truth to nature is, however, undeniable.

The subjects are taken partly from the twelve-gods cycle (like the
frequently-occurring birth of Athene, Dionysian processions, etc.), or
from Trojan and Theban myths; partly also from daily life, such as
chases, wrestlings, sacrifices, symposia and the like. To this class
belong most of those large Panathenaic prize-vases, which are of such
importance for our knowledge of gymnastic competitions.

In our third class the figures appear in the natural color of the
surface, which itself has been painted black. The character of the
figures in consequence appears gay and lively. Both styles seem at one
time to have existed together, for we find them used severally on two
sides of one and the same vessel, till at last the painting of black
figures was disused entirely. The drawings now become more individual,
and are freed from the fetters of conventional tradition--a proof of
the free development of both political and artistic feelings, even
among the lower classes of artificers. The specimens of the third
class show the different stages of this process of liberation. At
first the figures are somewhat hard, and the drapery, although
following the lines of the body more freely than previously, shows
still traces of archaic severity of treatment; the details, indicated
by black lines, are still carefully worked out. For smaller folds and
muscles, a darker shade of the red color is used; wreaths and flowers
appear dark; red white is used only in few cases--for instance, for
the hair of an old man. The composition shows greater concentration
and symmetry in the grouping, according to the conditions of the space
at disposal. The figures show a solemn dignity, with signs, however,
of an attempted freer treatment.

[Illustration: GREEK VASE.]

Kramer justly calls this period that of the "severe style," and
compares it with the well-known "AEginetic" style in sculpture. The
further development of the "severe style" is what Kramer calls the
"beautiful style," in which grace and beauty of motion and drapery,
verging on the soft, have taken the place of severe dignity. In high
art this transition might be compared to that from Perugino's school
to that of Raphael, or, if we may believe the