for the gods. As for the trout—particularly the big one Theo himself had caught—well, there never was such eating!

After lunch was done the fishermen were loth to leave the sunny shelter of the cabin.

Dr. Swift and Mr. Croyden lounged on the door-sill, while Theo skipped stones in the water until his arm was tired. Then exhausted by his exertions he sank wearily down on a stump near the lean-to and remarked:

"Why wouldn't this be a good time, Mr. Croyden, to tell us some more about Greek pottery?"

"Greek pottery? Bless my heart! I thought you had forgotten all about that."

"So I had when I was fishing," confessed Theo   honestly. "But I have remembered it again now."

"You are a frank youngster," laughed Mr. Croyden. "Well, let me see. You know the making of pottery was a fine art among the Greeks. They made two kinds—neither of them glazed, of course, because at that time nobody knew how to glaze pottery. The first kind was a pottery of red clay on which were placed decorations of black pigment; the other was a pottery on which they painted figures in red, afterward filling in the background around them with black. These two varieties of ware are briefly known as black on red, and red on black. The black portion of this pottery possessed a wonderful polish which came from the black pigment mixed with the clay; the red part, on the contrary, had no lustre, evidently being smoothed and polished with some hard tool after the vase was finished. These vases were very beautiful in form and design, no two of them being alike. Each was made by an individual artist who pleased himself as to the arrangement of the birds, animals, and gracefully   draped figures with which he decorated it. The famous François vase at Florence is a marvelous example of this sixth century workmanship; every inch of its closely adorned surface is covered with carefully drawn figures in black, white, and purple. This particular piece was probably made by two Athenian artists, as it shows two distinct types of work. Think how fortunate we are to have had it come down to us unbroken through the tumult of the years!"

Mr. Croyden gazed thoughtfully into the fire.

"You know that at the time these exquisite vases were made the entire Greek nation was devoting itself to the fashioning of beautiful things. Sculptors were carving wonderful statues, toiling eagerly to make each piece more perfect in form; architects were rearing such buildings as the world has never since seen; and in the centre of Athens a district was reserved which was entirely occupied by the shops of potters and painters and known as the ceramicus. It is from this ancient word that our present day term ceramics is derived. Within this area devoted to the making of pottery the   artists worked, each one reverently bending his energy to give to the world a thing which should be as nearly perfect in form and decoration as he could make it. Thousands of vases went out, many of them into the homes of rich, beauty-loving Greeks; many into the temples; and many into Athenian tombs; for the people of this nation always loyally honored their dead. In addition to these vases there were smaller articles—perfume bottles, jars for wine or water, utensils used at ceremonials in the temples; and the beautiful amphora, a vase given as a prize at the great Greek festivals, and the progenitor of the silver cups we now give the winners in athletic games. This latter type of vase had two handles and frequently its base was tapered to a point in order that it might rest in a tripod, or be thrust into the earth. At the Louvre in Paris there is a very famous Greek amphora which I hope you will see some day."

"I should like to see it," declared Theo eagerly.

"I intend you shall, son," put in Dr. Swift.   "I mean to give you the chance to see all the finest things in the world, if I have my way."

Theo smiled gratefully into his father's face.

"When we marvel at the grace and perfection of Greek decoration we must bear in mind that as a spur to their artistic sense the people had beauty constantly before them. Theirs was a country of smiling skies, of blue heaven and golden sunshine; their buildings breathed the very essence of all that is highest in art; even the throngs that filled the streets were picturesque and classic in appearance. For in those days fashions of dress did not change as capriciously as they do now. A beautiful style of costume was adopted and retained, and in consequence artists had ever before them men and women who were excellent models for chaste decoration. In our time such a procedure would be impossible, as the national dress of both our men and women has become utilitarian rather than beautiful, and now has little artistic to recommend it. If we wish classic draperies and faultless styles of hair-dressing we must revert to the past for our models. 

There was a silence broken only by the snapping of the fire.

"To give you some idea how much of this pottery the Greeks turned out I must tell you that at Naples there is a collection of two thousand Greek cups and vases. The Vatican at Rome has one thousand more; Florence has seven hundred; Turin five hundred; Vienna three hundred; Berlin about seventeen hundred; the Louvre at Paris fifteen hundred; and the British Museum nearly twenty-six hundred. Besides these there are some twenty thousand more scattered all over the world in private collections."

A whistle of surprise escaped Theo.

"Not all of these are equally good, however," went on Mr. Croyden. "The Etruscan work done by wandering Greek potters and by some persons rated as identical with the Roman Samian ware, is one of the finest varieties remaining to us; probably because it escaped being buried with the dead and therefore was not injured or discolored by the soil as were so many of the Greek vases found at Athens. Moreover, we must remember that not   every artist who made and decorated an object excelled. Naturally some did more perfect work than others, even in the days of the best Grecian art. How sad it is that at a later period in history the work of the Greeks became less fine because the ideals of the race degenerated. Pottery makers, sculptors, and builders began to produce cheap, gaudy things which were lavishly decorated, and reflected the luxury and extravagance that had crept into the nation. From that moment the glory of Greece decayed. For it is the ideals of a country and its people that serve as guide-posts to the greatest and finest deeds. Unless each individual in a land aims at the purest and best his country will never reach holiness. It is the struggle for perfection in every field of life that results in fine art, fine men, and fine nations."

Mr. Croyden had become very grave.

Then he rose abruptly, took out his pipe, and knocked the bowl of it upon a stump.

"Well, well," he exclaimed with a swift return to his accustomed gaiety, "I think I have lectured long enough. See! Manuel has everything   packed up and is waiting for us. Suppose we start back home."

But Theo was very quiet on the trip back to the camp.

He was thinking about the Greeks.