Douris and the Painters of Greek VasesPottier, Edmond
History
Douris and the Painters of Greek Vases
Pottier, Edmond
Douris, active 6th century B.C.-5th century B.C.; Vase-painting, Greek
The kylix in the Berlin Museum, _The Interior of a School_ (Fig.
22), shows the same fault, although it may be considered as Douris’
masterpiece in everyday scenes. But the subject is of such interest
to us, and throws so much light on the life of Greek scholars, that
we think no longer of imperfections nor of the systematic stiffness
of the groups. Here, again, Douris is seen as an original and fertile
initiator. He here abandons the palæstra and the gymnastic exercises,
repeated a hundred times, and takes us into the school-room where the
music-master and the grammarian give their lessons; on one reverse,
lessons on the lyre and recitations are given, on the other, lessons
in writing and flute-playing. In the interior, a simple figure of a
nude youth tying his sandal, shows the boy, whose task is finished,
preparing to run and play. It is a charming and sober painting, we
should call it to-day, “an instantaneous impression,” giving a glimpse
of life which particularly attracts us. How were the youths of Athens
educated? Upon that theme bulky volumes have been written.
As M. Paul Girard has shown in his _Education Athénienne_, this kylix
of Douris teaches us better than the texts. We see here the importance
the Greeks attached to musical instruction. The word “music” expressed
the entire education; literary studies, instrumental music and singing.
Music walked hand in hand with literature and gymnastic exercises.
Plato even went so far as to say that the art of touching the soul
with song inspired the desire for virtue. He rejected, however, as
voluptuous and enervating, certain Ionian and Lydian modes. We must
remember that music was intended chiefly, as represented on the vase in
Berlin, to accompany the song, and that the words were more significant
than the melody. Prayers, invocations, war-songs, moral maxims, all
contributed to make music a powerful instrument of education, and the
apparently paradoxical words of old Damon may in this way be explained,
when he said that the rules of music could not be changed without
shaking the state itself.
Public-domain text, read in full here on John Shaqi.
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