The fields offered to the draughtsman on Greek vases naturally follow
the form of the vase; but they may be set down as approximately round,
square or oblong. To each of these spaces the artist carefully adapts
his designs. In fig. 1 we have a characteristic adaptation to circular
form by the vase painter Epictetus.
In the early period of painting all the space not occupied by the
figures is filled with patterns or accessories, or even animals which
have no connexion with the subject (fig. 9). In later and more developed
art, as in this example, the outlines are so figured as to fill the
space.
When the space is square we have much the same problem as is presented
by the metope spaces of a temple. In the case of both square and oblong
fields the laws of balance are carefully observed. Thus if there is an
even number of figures in the scheme, two of them will form a sort of
centre-piece, those on either side balancing one another. If the number
of figures is uneven, either there will be a group of three in the
midst, or the midmost figure will be so contrived that he belongs wholly
to neither side, but is the balance between them. These remarks will be
made clear by figs. 2 and 3, which repeat the two sides of an amphora,
one of which bears a design of three figures, the other of four.
[Illustration: From _Wiener Vorlegeblatter_, 1890, Pl. viii., by
permission of the Director of the _K. K. Osterr. Archaol. Institut._