» Due de Luynes, Annali, 1830. p. * II. p. 136—138.
242.
DRAWING. 24S

damp surface, the black colour which he used was
instantly confounded with the tint of the clay. The lines
grew broad at first, and afterwards contracted them-
selves, leaving but a light trace, so that the artist could
with difficulty discern what he had been doing. But,
what was still more embarrassing, the lines, once begun,
could not be lefk oflF except where they met other lines
which cut or terminated them. Thus, for example, the
profile of a head must have been executed with a single
continuous line, which could not be interrupted till it met
the neck ; and in drawing a thigh or leg, the whole outline
must have been finished without taking off the pencil ;
proceeding from the top downwards, making use of the
point to mark the horizontal lines, and afterwards rising
upwards to finish the opposite side.^

The dark outline waa drawn strongly with a thick
pencil, to prevent the background encroaching on the
figure. That this was done while the clay was moist
appears by the outline uniting, which could not have
taken place if the clay had been dry. It was so difficult
to fill in the outlines without alteration, that they were
frequently changed.
The ancient artists, notwithstanding these difficulties,
observed all the laws of equilibrium in their figures ;
conveyed expression by means of attitude ; and, by the
use of profile, and the introduction of accessories, or small
objects, into the background, contrived to compensate for
the want of perspective.
This want of perspective was owing to the use of flat
colours, which did not allow of shades, and the figures

» D'Hancarville, iL p. 142.
B 2



GREEK POTTERY.
