Of these later masters, the one who keeps most the massiveness and dignity of the older style is the ‘Kleophrades’ painter, who grew up in the Leagros period and has furnished one of his works with the potter’s signature of Kleophrades, son of Amasis. As an example of his style let us take the Munich pointed amphora belonging about to the Panaitios period: the passionate frenzy of frantic Maenads has never been more perfectly caught than in the back-tossed head of the rushing waver of the thyrsos (Fig. 117). The ‘Kleophrades’ painter was a pupil of Euthymides: but for a number of his contemporaries it can be shown that they won their spurs in the celebrated studio of Euphronios. It is true that we only have evidence in an inscription of activity in the service of Euphronios for one painter denoted by name, and malicious accident has deprived us of all but the last four letters of his name. Onesimos, as his name is usually restored, combines in simple composition on his kylix riders and boys leading horses, and thus is the predecessor of the ‘Horse’ master. On the other hand the master of the Troilos kylix in Perugia, which Euphronios also signed as potter (the ‘Perugia’ master) inherited more of the fire and dramatic vigour of the ‘Panaitios’ master. His Munich Centaur kylix is worthy of the great teacher, and the interior (Fig. 126) is equally perfect as filling the space and as rendering animated life. The shield in profile view, which shows indication of shading, the Centaur’s head, and especially the grandiose foreshortening of the horse-body, point beyond the Panaitios period. To this group must have belonged the ‘Brygos’ painter, who in earlier works, _e.g._, in the clearly and vigorously composed Iliupersis in Paris (Figs. 118 and 119), is still strongly inspired by the achievements of the Perugia master, and later develops the fiery vigour of his youthful period in ever more delicate and elegant shapes. He is fond of shaded shields, hairy bodies and cloaks adorned with spots. Perhaps the finest work of his maturity is the interior of the Würzburg kylix (Fig. 116), on which a young Athenian, supported by the hands of a girl, relieves himself of the wine he has imbibed too freely. The picture not only in its free adaptation to space and in the sure hand with which the movement of body and drapery is rendered, but especially in the fine animation of the expression, is a worthy last note of archaic art. The unsigned Vienna skyphos of the Brygos painter (Fig. 120) must be placed between the Paris and Würzburg kylikes. It also gives a [Illustration: PLATE LXXI. Figs. 118 & 119. THE SACK OF TROY: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER BRYGOS. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] [Illustration: PLATE LXXII. Fig. 120. SKYPHOS WITH THE RANSOMING OF HECTOR. Fig. 121. THESEUS DESERTS THE SLEEPING ARIADNE (?): FROM THE EXTERIOR OF A KYLIX.]