The close connection of the shapes with metal-work has been already proved in the case of the cups of early Orientalizing style (Fig. 23), and goes through the whole history of the fabric, and even where the models were not immediately copied, gave the vase-shapes a clearness and precision, with which the products of no other manufactory can compete; the Sicyonian-Corinthian school of repoussé work perhaps originated many metal vase-shapes, which were afterwards used in various manufactories. Though the Protocorinthian list of shapes is only known to a small extent, an important change can be established. Beside the jugs of primitive construction (cp. Fig. 33 with Fig. 54) appear later more rounded vessels, the jug with ‘rotelle’ (Fig. 38) and the wineskin-shaped, the chief example of which (Fig. 35) with its excellently decorated bands, sometimes black, sometimes in the ground of the clay, shows us the style in a richer and more developed form than any other vase of this fabric. In the same way the little ‘lekythoi’ which are technically often quite exquisite, change their appearance, exchange their old globular shape (Fig. 27) for a slimmer one with pronounced shoulder, which the caprice of the potter often furnishes with plastic additions, Argive transformations of Cretan ‘Daedalic’ types (Figs. 27 and 31). And as beside the ‘rotelle’ jug, we have the wineskin-shaped jug, so beside this sort of ‘lekythos’ there is a wineskin-shaped variety with a rough tongue-pattern on the neck (Fig. 39). The ‘lekythoi’ were the chief exported article, or at least the most favoured grave-offering of the customers abroad. But one cannot call it the favourite shape of Protocorinthian workmanship: it must not be forgotten that we have only an accidental selection of this ware, due to the discovery of two native sanctuaries (the Argive Heraion and the Temple of Aphrodite in Aegina), and many graves in the Argolid, Attica, and Boeotia, in the East (Thera, Rhodes, Asia Minor) and in the West (Sicily, Italy, Carthage). Wherever this ware came it exercised a stimulating influence, and in many places evoked local copies (p. 52); more than other districts the West was dominated by this Art. As the oldest Etruscan wall-paintings, those of the _Grotta Campana_ at Veii and the _Tomba dei Leoni_ at Caere, are quite under the influence of Sicyonian-Corinthian painting, so the class called into existence a multitude of imitations in Sicily and Italy, particularly at Kyme.