Gardner, Percy: The principles of Greek art (London, 1924)

CHAPTER VII

frontality in greek art

Whether, in dealing with the principles of Greek representa-
tive art, we should begin with sculpture or with painting, is
not a question easy to decide. Painting is essentially a freer
art than sculpture, and in all the changes and improvements
by which art progresses toward its zenith, painting naturally
takes the lead. To this general rule Greek art offers no excep-
tion. Polygnotus preceded Pheidias, and the impress which
Pheidias placed upon art was in many respects originated by
the Thasian painter. Painting at Pompeii has reached a de-
gree of freedom and, so to speak, of modernity, which is never
attained by ancient relief. Thus, if Greek painting were in
our museums half as well represented as Greek sculpture, we
should certainly prefer to treat first of the art of the brush.
But unfortunately Greek painting is but very imperfectly
known to us. We have to piece together its history from the
designs of Greek vases and the frescoes of the Roman Age,
whereas we have an abundance of really good sculpture from
all ages of production. Sculpture, therefore, on the whole, claims
precedence in our treatment. We shall, to begin with, speak of
Greek art as a whole, and then take up successively sculpture
and painting in their separate and distinctive developments.

In spite of what was said in the introductory chapter as to
the diversity of a search into the character of a nation's art and
a search into the origin of its art, it will be expedient, before
treating of the phenomena of developed Greek art, to make
inquiry into its earliest distinctive forms. For it is possible

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