vases a specimen like the Apollo vase (Fig. 52), which colours light brown the male body, and in the drawing of animals leads from the old partial silhouette to the later technique. The fine ‘Marriage of Herakles’ (Fig. 53) marks a great step in advance, not only by the complete taking over of the black-figured animal style, and the superposition of many details in white on horses and patterns of garments, but above all by the lively rendering of the paratactic composition and the removal of all Geometric traces in the rendering of [Illustration: PLATE XXVI. Fig. 52. ARTEMIS, APOLLO, ARGE AND OPIS: FROM A “MELIAN” AMPHORA.] [Illustration: PLATE XXVII. Fig. 53. HERAKLES AND IOLE (?): FROM A “MELIAN” AMPHORA. Fig. 54. EARLY RHODIAN JUG.] bodies. The heraldic motives have given place to more natural ones; the male type is not merely distinguished by brown painting from the female. The shape of the vase is more compact, the decoration more tectonic, the goose frieze on the shoulder edge is replaced by the tongue pattern, which also as garment edging drives out the old zig-zag. But the filling ornaments are as copious as ever, and the step, which the Nessos vase took in the technique of the figures, has not yet been taken. Thus the ‘Melian’ vases take us lower down in the 7th century than the other Cycladic products, but not yet to its close. Perhaps new finds will bring the continuation of these manufactories and build a bridge to the style of the 6th century. If we get them, we may hope for a completion of the picture here given, a clearing up of the relations of the manufactories to one another and to the East and West, and evidence as to their localization. For even the Melian origin of the ‘Melian’ vases is not certain: this manufactory too, to judge by the chief locality of the finds, would have to be moved to Delos, the little inconspicuous island, where Leto bore her twins Apollo and Artemis, on which the whole Ionic world gathered to celebrate its divine fellow-citizens. We can trace something of this festal spirit and devotional pride of the insular Ionians in the Apollo and Artemis of the Melian vase, of course in a humbler way than in the magnificent hymn of the Ionian bard.