of the early schools of art, 480-400 B.C.; (3) the period of the

later great schools, 400-300 B.C.; (4) the period of Hellenistic art, 300-50 B.C. In dealing with these successive periods we confine our sketch to the three greater branches of representative art, architecture, sculpture and painting, which in Greece are closely connected. The lesser arts, of pottery, gem-engraving, coin-stamping and the like, are treated of under the heads of Ceramics, Gem, Numismatics, &c., while the more technical treatment of architectural construction are dealt with under Architecture and allied architectural articles. Further, for brief accounts of the chief artists the reader is referred to biographical articles, under such heads as Pheidias, Praxiteles, Apelles. We treat here only of the main course of art in its historic evolution.

Period I. 800-480 B.C.—The fact is now generally allowed that the Mycenaean, or as it is now termed Aegean, civilization was for the most part destroyed by an invasion from the north. This invasion appears to have been Northern invasion. gradual; its racial character is much in dispute. Archaeological evidence abundantly proves that it was the conquest of a more by a less rich and civilized race. In the graves of the period (900-600 B.C.) we find none of the wealthy spoil which has made celebrated the tombs of Mycenae and Vaphio (q.v.). The character of the pottery and the bronze-work which is found in these later graves reminds us of the art of the necropolis of Hallstatt in Austria, and other sites belonging to what is called the bronze age of North Europe. Its predominant characteristic is the use of geometrical forms, the lozenge, the triangle, the maeander, the circle with tangents, in place of the elaborate spirals and plant-forms which mark Mycenaean ware. For this reason the period from the 9th to the 7th century in Greece passes by the name of “the Geometric Age.” It is commonly held that in the remains of the Geometric Age we may trace the influence of the Dorians, who, coming in as a hardy but uncultivated race, probably of purer Aryan blood than the previous inhabitants of Greece, not only brought to an end the wealth and the luxury which marked the Mycenaean age, but also replaced an art which was in character essentially southern by one which belonged rather to the north and the west. The great difficulty inherent in this view, a difficulty which has yet to be met, lies in the fact that some of the most abundant and characteristic remains of the geometric age which we possess come, not from Peloponnesus, but from Athens and Boeotia, which were never conquered by the Dorians.

The geometric ware is for the most part adorned with painted patterns only. Fig. 4 is a characteristic example, a small two-handled vase from Rhodes in the Ashmolean Museum, the adornment of which consists in zigzags, circles Geometric ware. with tangents, and lines of water birds, perhaps swans. Sometimes, however, especially in the case of large vases from the cemetery at Athens, which adjoins the Dipylon gate, scenes from Greek life are depicted, from daily life, not from legend or divine myth. Especially scenes from the lying-in-state and the burial of the dead are prevalent. An excerpt from a Dipylon vase (fig. 5) shows a dead man on his couch surrounded by mourners, male and female. Both sexes are apparently represented naked, and are distinguished very simply; some of them hold branches to sprinkle the corpse or to keep away flies. It will be seen how primitive and conventional is the drawing of this age, presenting a wonderful contrast to the free drawing and modelling of the Mycenaean age. In the same graves with the pottery are sometimes found plaques of gold or bronze, and towards the end of the geometric age these sometimes bear scenes from mythology, treated with the greatest simplicity. For example, in the museum of Berlin are the contents of a tomb found at Corinth, consisting mainly of gold work of geometric decoration. But in the same tomb were also found gold plates or plaques of repoussé work bearing subjects from Greek legend. Two of these are shown in fig. 6. On one Theseus is slaying the Minotaur, while Ariadne stands by and encourages the hero. The tale could not have been told in a simpler or more straightforward way. On the other we have an armed warrior with his charioteer in a chariot drawn by two horses. The treatment of the human body is here more advanced than on the vases of the Dipylon. On the site of Olympia, where Mycenaean remains are not found, but the earliest monuments show the geometric style, a quantity of dedications in bronze have been found, the decoration of which belongs to this style. Fig. 7 shows the handle of a tripod from Olympia, which is adorned with geometric patterns and surmounted by the figure of a horse.

It was about the 6th century that the genius of the Greeks, almost suddenly, as it seems to us, emancipated itself from the thraldom of tradition, and passed beyond the limits with which the nations of the east and west had hitherto been content, in a free and bold effort towards the ideal. Thus the 6th century marks