Something more is, however, revealed by early Greek Art. We are in possession of a series of vases of the seventh and sixth centuries before the Christian era showing a closeness of observation of animal forms that tells of a people awake to the study of nature. We have thus portrayed for us a number of animals—plants seldom or never appear—and among the best rendered are wild creatures; we see antelopes quietly feeding or startled at a sound, birds flying or picking worms from the ground, fallow deer forcing their way through thickets, browsing peacefully, or galloping away, boars facing the hounds and dogs chasing hares, wild cattle forming their defensive circle, hawks seizing their prey. Many of these exhibit minutely accurate observation. The very direction of the hairs on the animals’ coats has sometimes been closely studied, and often the muscles are well rendered. In some cases even the dentition has been found accurately portrayed, as in a sixth century representation on an Ionian vase of a lioness—an animal then very rare on the Eastern Mediterranean littoral, though still well known in Babylonia, Syria, and Asia Minor. The details of the work show that the artist must have examined the animal in captivity (Figs. 1 and 2). [Illustration: FIG. 3. Paintings of fish on plates. Italo-Greek work of the fourth century B. C. From Morin. A. Sargus vulgaris.] [Illustration: B. Crenilabrus mediterraneus. C. Uranoscopus scaber?] Animal paintings of this order are found scattered over the Greek world with special centres or schools in such places as Cyprus, Boeotia, or Chalcis. The very name for a painter in Greek, _zoographos_, recalls the attention paid to living forms. By the fifth century, in representing them as in other departments of Art, the supremacy of Attica had asserted itself, and there are many beautiful Attic vase-paintings of animals to place by the side of the magnificent horses’ heads of the Parthenon (Fig. 6). In Attica, too, was early developed a characteristic and closely accurate type of representation of marine forms, and this attained a wider vogue in Southern Italy in the fourth century. From the latter period a number of dishes and vases have come down to us bearing a large variety of fish forms, portrayed with an exactness that is interesting in view of the attention to marine creatures in the surviving literature of Aristotelian origin (Fig. 3).