One of the finest pictures of movement from this period decorates a stamnos at Naples (Fig. 147): women who are sacrificing before a tree-trunk dressed out as Dionysos and dancing to the tambourine. The exact dating of this picture, like the whole chronology of the late and post-Pheidian vases, is a matter of dispute: but this much is certain, that it cannot be understood except as a near echo of the art of [Illustration: PLATE LXXXVIII. Fig. 146. RED-FIGURED STAMNOS. Fig. 147. OFFERINGS AT THE IMAGE OF DIONYSOS: FROM A RED-FIGURED STAMNOS.] [Illustration: PLATE LXXXIX. Fig. 148. PELOPS AND HIPPODAMEIA: FROM A RED-FIGURED NECKED AMPHORA. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] the Parthenon pediments. Into the noble line-drawing of the middle style of Pheidias has come a new passionate movement, which draws the contour in more violent curves, dissolves the hair in strong waves, throws the drapery into great folds, and enlivens the clinging parts with restlessly curving inner folds. The upper garment of Dionysos is given rich effect by long border zig-zags, interspersed stars and an embroidered wreath, the expression of his eyes is strengthened by emphasis on the upper lid. Details added in white and liberal use of thinned black heighten the coloured effect. This new style with its marked enhancement of the lines is the later style of Pheidias, a reflection of the last and highest development of the Parthenon master, which pointed Attic art into new paths, and lived its life out and died in the school of Pheidias. The amphora with twisted handles at Arezzo (Fig. 148) must be in close connection with the last phase of the Pheidian style and cannot be far removed from the Naples stamnos. Its shape enriches the type of the Terpischore vase in London (Fig. 141) by sharper profiling of the mouth and foot, but does not yet draw the lower part into the dull curve, which robs the amphorae and bell-kraters of the end of the century of strong and taut effect. Similarly the scene, the wild career of Pelops and Hippodameia over the sea, heightens the tendencies of Pheidian art without succumbing to the palsy which can be felt in the style of Meidias. The divine horses, the gift of Poseidon, emit sparks of the fire of the steeds on the pediments; the majestically animated attitude of Hippodameia reminds one of the Athenian lekythos (Fig. 145); in Pelops every line is full of passion and bold movement. Here too the draperies are rich and elaborate, the restless billowing of the folds is more marked than on the Naples stamnos, and the flowing chiton folds, which cling close to the body, prepare for the exaggeration dear to post-Pheidian sculpture and painting. Not only does the drawing of individual forms show a plastic conception of space, but the whole scene is inconceivable without a contemporary big painting with considerable landscape capacities: from the tree-clad hilly coast the chariot rushes out upon the deep sea.