bserve that in all our historical work, I will endeavor
to do, myself, what I have asked you to do in your drawing exercises;
namely, to outline firmly in the beginning, and then fill in the detail
more minutely. I will give you first, therefore, in a symmetrical form,
absolutely simple and easily remembered, the large chronology of the
Greek school; within that unforgettable scheme we will place, as we
discover them, the minor relations of arts and times.

I number the nine centuries before Christ thus, upwards, and divide them
into three groups of three each.

{9
A. ARCHAIC. {8
{7
----

{6
B. BEST. {5
{4
----

{3
C. CORRUPT. {2
{1

Then the ninth, eighth, and seventh centuries are the period of archaic
Greek art, steadily progressive wherever it existed.

The sixth, fifth, and fourth are the period of Central Greek art; the
fifth, or central, century producing the finest. That is easily
recollected by the battle of Marathon. And the third, second, and first
centuries are the period of steady decline.

Learn this A B C thoroughly, and mark, for yourselves, what you, at
present, think the vital events in each century. As you know more, you
will think other events the vital ones; but the best historical
knowledge only approximates to true thought in that matter; only be
sure that what is truly vital in the character which governs events, is
always expressed by the art of the century; so that if you could
interpret that art rightly, the better part of your task in reading
history would be done to your hand.

117. It is generally impossible to date with precision art of the
archaic period--often difficult to date even that of the central three
hundred years. I will not weary you with futile minor divisions of time;
here are three coins (Plate VII.) roughly, but decisively,
characteristic of the three ages. The first is an early coin of
Tarentum. The city was founded, as you know, by the Spartan Phalanthus,
late in the eighth century. I believe the head is meant for that of
Apollo Archegetes; it may however be Taras, the son of Poseidon; it is
no matter to us at present whom it is meant for, but the fact that we
cannot know, is itself of the greatest import. We cannot say, with any
certainty, unless by discovery of some collateral evidenc