The drawing of the human figure proceeds on other lines than that of animals. In consequence of the new development of the art of painting (p. 33), it makes a fresh start. First we have the vase of Aristonothos (Fig. 30); the next stage is represented by the Ram vase (Fig. 28); the desire of distinguishing the lighter skin of women from that of men leads to the tinting in brown of the male body. But in the formation of the figure types certainly it was not only painting that stood godmother, the metal worker’s art must also have asserted its influence; the kinship with Cretan and Argive flat bronze reliefs and metal engraved work is too great, the sharp clear-cut types too much in the spirit of bronze technique, for it to be possible to postulate an independent development. To this corresponds the fact that the outlines of the figures are accompanied by incised lines on polychrome vases with black ground, on the finest of the later lekythoi (oil-flasks) and on the Chigi jug (Fig. 35). This technique is repeated on the big two-handled cups with finely stylised figured representations, which finally accomplish an important advance already foreshadowed by small and hasty specimens: the dark silhouette with incised interior detail, prevalent in the style of the animal friezes, and along with it certain details like the circular rendering of the eye, are taken over for the representation of male figures. This adoption, which only takes place at the end of the development, and makes the Protocorinthian style the [Illustration: PLATE XVIII. Figs. 36 & 37. SCENES FROM THE CHIGI JUG: HARE AND LION HUNT; CHARIOT.]