Gardner, Ernest Arthur: Poet and artist in Greece (London: Duckworth, 1933)

INTRODUCTION

19

a story or a succession of events, and consequently was
used extensively in the chronicle-reliefs of Mesopotamia
and Egypt, in mediaeval tales from the Bible or from the
lives of saints, and in Roman reliefs like that of Trajan’s
column. But in modern times it is practically restricted
to drawings for children or in the comic papers. A
curious coincidence may be seen in a popular advertise-
ment of a certain motor spirit and an illustration to Dante
by Botticelli, quoted by Wickhoff. In both alike sudden-
ness and surprise are expressed in the same way by a
figure with two heads, one turned each way, to indicate
two rapidly succeeding positions. Such devices as these,


2. Departure of Amphiaraus

however, appear not to have satisfied the artistic sensi-
bilities of the Greeks ; at any rate they were not used by
the Greeks—with some possible exceptions.
The comprehensive (or complementary) method, on the
other hand, was often followed by the Greek vase-painter,
and it was readily adapted to the aims and traditions of
his art. In this method the same figure does not appear
twice in a single picture or relief, but may be represented
in such action or position as tells more than could be
actually seen on the spot. The scene of the departure of
Amphiaraus from his home to join the Seven against
Thebes, as represented on a Corinthian vase, offers a
good example of the method. In accordance with the