ny,
from Lucian's description of it. His chief works were his Aphrodite
Anadyomene, carried to Rome by Augustus, and the portrait of Alexander
with the Thunder-bolt. He was undoubtedly a superior man technically.
Protogenes rivalled him, if we are to believe Petronius, by the foam
on a dog's mouth and the wonder in the eye of a startled pheasant.
Aetion, the painter of Alexander's Marriage to Roxana, was not able to
turn the aim of painting from this deceptive illusion. After
Alexander, painting passed still further into the imitative and the
theatrical, and when not grandiloquent was infinitely little over
cobbler-shops and huckster-stalls. Landscape for purposes of
decorative composition, and floor painting, done in mosaic, came in
during the time of the Diadochi. There were no great names in the
latter days, and such painters as still flourished passed on to Rome,
there to produce copies of the works of their predecessors.

It is hard to reconcile the unworthy motive attributed to Greek
painting by the ancient writers with the high aim of Greek sculpture.
It is easier to think (and it is more probable) that the writers knew
very little about art, and that they missed the spirit of Greek
painting in admiring its insignificant details. That painting
technically was at a high point of perfection as regards the figure,
even the imitative Roman works indicate, and it can hardly be doubted
that in spirit it was at one time equally strong.

EXTANT REMAINS: There are few wall or panel pictures of
Greek times in existence. Four slabs of stone in the Naples
Museum, with red outline drawings of Theseus, Silenos, and
some figures with masks, are probably Greek work from which
the color has scaled. A number of Roman copies of Greek
frescos and mosaics are in the Vatican, Capitoline, and
Naples Museums. All these pieces show an imitation of late
Hellenistic art--not the best period of Greek development.

THE VASES: The history of Greek painting in its remains is
traced with some accuracy in the decorative figures upon the
vases. The first ware--dating before the seventh century
B.C.--seems free from oriental influences in its designs.
The vase is reddish, the decoration is in tiers, bands, or
zig-zags, usually in black or brown, without the human
figure. The second kind of ware dates from about the middle
of the seventh century. It shows meander, w