In the later period of the artist (about 480 B.C.) we must put along with their congeners the kylikes with the love-name Hippodamas, the finest of which is the Berlin school vase (Fig. 124). In the drapery of the teachers and pupils, who are here assembled in the class-room, nothing of archaic stiffness remains. If even the Leagros period had made the cloak folds come to a natural end, they now bend round their ends and pave the way for the “drapery eyes,” which in the next period so naturally characterize the packings in the material. The great development, which is evidenced for Duris by his many signatures, suggests considerations. We ask whether other masters too did not fundamentally change, and whether _e.g._ Euphronios did not develop out of the ‘Leagros’ stage to that of the ‘Panaitios’ master and the Perugia painter, and on his later works include the painter’s signature in that of the potter’s firm, _i.e._ whether works like the Munich Centauromachy (Fig. 126) do not represent a late phase of this gifted painter, who can be proved to have lived into the ‘Glaukon’ period. [Illustration: PLATE LXXIII. Fig. 122. HERMES AND SATYRS: FROM A PSYKTER BY DURIS. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] [Illustration: PLATE LXXIV. Fig. 123. DRUNKEN MAENADS: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER HIERON.] Of the other painters of this period, we must content ourselves with naming three, the Berlin master, Makron, and the Bronze-Foundry master. The ‘master of the Berlin amphora’ even surpasses Duris in elegance, and is fond of introducing his slim elastic figures in ‘Nolan’ style, _i.e._ isolated on a dark background. Makron, who painted almost all the vases on which Hieron’s signature as potter is found, studied by choice in the Palaestra, where boys performed gymnastics and were addressed by older men. A Berlin kylix (Fig. 123), like several works of his hand, introduces us to Bacchic revelry, an excited chorus of drunken and vigorously gesticulating maenads, whose bodies are not concealed by the rustling pomp of folds: the ‘kolpos’ or fold of the chiton drawn up through the belt, which Brygos also is fond of, is more transparent than the upper and lower parts of the complicated garment. These figures in which all is life, movement and expression, should be compared with those of the Andokides painter or even those of Euphronios, in order to realize, how in these few decades the liberation from archaic stiffness and adherence to type was almost tempestuously accomplished.