and clumsy, but the spirit of the whole thing is ugly. The fidgety nerves of the artist trying to fill every corner with some sort of scrawl, scraping meaningless emblems even between the legs of his horses, wearies the eye of the spectator. His designs have no sort of correspondence with the form of his material, any more than the modern house-decorator’s friezes and dados properly belong to the four flat surfaces of his walls. The vital qualities of good Greek art are self-control, the subordination of the artist to his work, and the perfect adaptation of the artistic form to the subject under treatment. The Dipylon Style does violence to all these canons of good taste. There must be an explanation.
It is easy to see that the ornamentation of a Dipylon vase is borrowed from an alien technique. Pottery never required the artist to divide his field up into parallel bands with borders and fringes. It is clearly from needlework, embroidery, or tapestry that this style is