The Story of Porcelain | Page 8

figures with which he decorated it. The famous Fran?ois vase at Florence is a marvelous example of this sixth century workmanship; every inch of its closely adorned surface is covered with carefully drawn figures in black, white, and purple. This particular piece was probably made by two Athenian artists, as it shows two distinct types of work. Think how fortunate we are to have had it come down to us unbroken through the tumult of the years!"
Mr. Croyden gazed thoughtfully into the fire.
"You know that at the time these exquisite vases were made the entire Greek nation was devoting itself to the fashioning of beautiful things. Sculptors were carving wonderful statues, toiling eagerly to make each piece more perfect in form; architects were rearing such buildings as the world has never since seen; and in the centre of Athens a district was reserved which was entirely occupied by the shops of potters and painters and known as the ceramicus. It is from this ancient word that our present day term ceramics is derived. Within this area devoted to the making of pottery the artists worked, each one reverently bending his energy to give to the world a thing which should be as nearly perfect in form and decoration as he could make it. Thousands of vases went out, many of them into the homes of rich, beauty-loving Greeks; many into the temples; and many into Athenian tombs; for the people of this nation always loyally honored their dead. In addition to these vases there were smaller articles--perfume bottles, jars for wine or water, utensils used at ceremonials in the temples; and the beautiful amphora, a vase given as a prize at the great Greek festivals, and the progenitor of the silver cups we now give the winners in athletic games. This latter type of vase had two handles and frequently its base was tapered to a point in order that it might rest in a tripod, or be thrust into the earth. At the Louvre in Paris there is a very famous Greek amphora which I hope you will see some day."
"I should like to see it," declared Theo eagerly.
"I intend you shall, son," put in Dr. Swift. "I mean to give you the chance to see all the finest things in the world, if I have my way."
Theo smiled gratefully into his father's face.
"When we marvel at the grace and perfection of Greek decoration we must bear in mind that as a spur to their artistic sense the people had beauty constantly before them. Theirs was a country of smiling skies, of blue heaven and golden sunshine; their buildings breathed the very essence of all that is highest in art; even the throngs that filled the streets were picturesque and classic in appearance. For in those days fashions of dress did not change as capriciously as they do now. A beautiful style of costume was adopted and retained, and in consequence artists had ever before them men and women who were excellent models for chaste decoration. In our time such a procedure would be impossible, as the national dress of both our men and women has become utilitarian rather than beautiful, and now has little artistic to recommend it. If we wish classic draperies and faultless styles of hair-dressing we must revert to the past for our models."
There was a silence broken only by the snapping of the fire.
"To give you some idea how much of this pottery the Greeks turned out I must tell you that at Naples there is a collection of two thousand Greek cups and vases. The Vatican at Rome has one thousand more; Florence has seven hundred; Turin five hundred; Vienna three hundred; Berlin about seventeen hundred; the Louvre at Paris fifteen hundred; and the British Museum nearly twenty-six hundred. Besides these there are some twenty thousand more scattered all over the world in private collections."
A whistle of surprise escaped Theo.
"Not all of these are equally good, however," went on Mr. Croyden. "The Etruscan work done by wandering Greek potters and by some persons rated as identical with the Roman Samian ware, is one of the finest varieties remaining to us; probably because it escaped being buried with the dead and therefore was not injured or discolored by the soil as were so many of the Greek vases found at Athens. Moreover, we must remember that not every artist who made and decorated an object excelled. Naturally some did more perfect work than others, even in the days of the best Grecian art. How sad it is that at a later period in history the work of the Greeks became less fine because the ideals of the race degenerated. Pottery makers, sculptors, and builders began to produce cheap, gaudy things which were lavishly decorated,