principal field a row of dolphins gambol, but they are hardly to be conceived of as a meaningless animal frieze, but are to be understood in a ‘landscape’ sense; the wild chase is by sea. On the other vases of this group the animal frieze element is much stronger, on some it entirely prevails, _e.g._, on big-bellied amphorae with no angle dividing body from neck, and a bason from Vurvá, which both reduce the filling ornaments very considerably. These vases lead over to a noticeably miscellaneous class, the so-called Vurvá style, which just like the older Corinthian denotes a strengthening of the decorative and is also to be regarded as a rival of Corinth. The ornamentation is very limited, for filling there is nothing but rosettes, which may also form independent friezes: the decoration assumes quite similar forms to those of the Corinthian fabric. But the Corinthian elements do not entirely give its character to the Vurvá style. Apart [Illustration: PLATE XXIV. Fig. 49. ATTIC AMPHORA. Fig. 50. CYCLADIC (EUBOIC) AMPHORA.] from the traditions of the brilliant Geometric period, which remained longer operative in the very ceramic and non-metallic Attic school than in the Argive-Corinthian, one suspects also influences from Eastern Greece. According to the evidence of vase finds, Athens was then in connection with Naukratis. Thus one may refer the painting of white on the figures, which is only occasionally employed at Corinth, but on the Vurvá vases often takes the place of the red, to the influence of the East, which had long known it, and explain in the same way many a similarity with the East in the motley array of animals. Beside the common ware, purely decorative, technically trivial and poor, naturally the subject-vases went on, as at Corinth. It is not only the ‘runners with bent knee’ mingled with the animals, the draped men and riders, who maintain the connection with the older figure-painting; the traditions of the Nessos vase and its parallels continued on big and carefully executed vases. These vases are to Attic pottery, what the works of Timonidas were to Corinthian; they give up filling ornament, individualize the world of figures out of its ornamental constraint, give the subject-style the spatial freedom, which it needs for its evolution. Just as we could follow this transitional style in Corinth on a vase and pinax of Timonidas, so it meets us in Attica at the same time in vases with decoration in bands, necked amphorae, kraters, and cauldrons, and in big-bellied amphorae with special field for the subject, which take the place, in some measure, of sepulchral votive ‘pinakes,’ and are decorated with a female bust or a horse’s head, placed on a panel reserved in the black ground. This vase with special field, which arose from the needs of representation, only transitorily enters the service of animal decoration, and then becomes the chief vehicle of the new style, whose beginning we have reached with the last-named vases.