independently (p. 37). But on the other hand the advance in drawing and the technical rendering of form, the outline of Peleus, the light colour of the woman, the reddish brown tint of the rider on the reverse, cannot be explained apart from the influence of free painting, whose oldest stages are stated to have been outlining with progressive drawing of interior details, monochromy (_i.e._ outline drawing with a filling of colour) and distinction of sex by colour. After an interval of several centuries wall-painting must have sprung up again and flourished in Crete, different to be sure in essentials from the Minoan, rather influenced by the East like the decorative art of the time. In spite of the tendency to represent painting as ‘invented’ in Greece, Greek tradition reluctantly admits that this art was indigenous and highly developed in Egypt long before. The bloom of Cretan art seems not to have outlasted the 7th century. Finds give out, and tradition expressly testifies to the migration of Cretan sculptors to the Argolid, a district which also took over the inheritance of Cretan vase painting. Of the two chief centres of Argive Geometric vase fabrication, one which is to be sought in the region of Argos and Tiryns cannot be followed out very clearly. The oldest Greek vase signed by an artist, the krater of the potter Aristonothos with the blinding of Polyphemus (Fig. 30), seems from the shape of the vase to belong to this class. The complicated shape of the circle of rays, the breaking up of the head silhouette, the juxtaposition of the traditional sea-fight with the legendary scene, are typical of the early Orientalizing period; certain parallels with the late Mycenean Warrior vase (p. 15) perhaps justify the conclusion, that remains of the old wall-painting had an influence on the style. Like the Aristonothos vase, some stirrup-handled kraters with metope decorations continue Argive Geometric traditions. These vases, however, are exclusively found in the West (Syracuse) and were probably made there; they do not give faithful reflection of their Argive prototypes. A krater with tall foot and ornamentation in bands, found at the Argive Heraion, representing the rescue of Deianeira, with plentiful use of ‘monochromy,’ is too isolated to make a picture of this Orientalizing pottery possible.