Appreciation of Greek art is not essentially esoteric, but it does presuppose intelligence of an especial sort, an intelligence that finds joy in a reasoned performance. These claims are not generally pushed by teachers of Greek and Latin history and language, for, unfortunately, few of them have any real appreciation of ancient art. The claims of Greek decorative art for consideration at this point are based-first, on its primacy, second, on its transcendence. This must be self evident from the derivation of the word “decorate” from the Latin decet, “it is fitting.” Decoration is ornament that satisfies, and satisfies not one or two, but all who have any real right to express an opinion thereon. The two characteristics all great art must display, and particularly must decoration do so. On all sides today critics lament in modern art the lack of sanity and universality of appeal. Design from the interior of a cup by Euphronios after Furtwangler-Reichhold. But although we rightly reject such forms as become empty when transferred to an unfriendly environment, we cannot without irreparable loss ignore the principles that underlie the forms. Happily, the world has come to realize that the Greek temple as a form of architecture is not congruous when located in the northern so-called temperate zone, and that the figures of eminent men of this generation, when translated into bronze or marble, need not be clothed in the toga. I do not mean that we should suffer modern art to be submerged under a flood of Greek gods or hoplites, or even of maeanders. In Greek art the designer of today can find much inspiration.
I mean of course Greek art, which is great not only in itself but in its fruits, for it directly inspired Roman, Byzantine and Renaissance art, as well as the later art of China, India and Japan. None the less, remembering the words of Aristotle that “Art is long,” I dare to hope that there is yet room for consideration of significant features of what some still think the greatest art the world has produced. To the voices uplifted in encouragement of a fresh interest in design may the classicist venture to add a treble note? It is now the fashion to deride, if not to ignore, all things classical.
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