A uniform band decoration did not exclusively prevail. A group of jugs, which by its more tense and profiled shape and by a transition to the later floral ornamentation shows itself to be progressive, and which gradually replaces the cable of the neck by the broken so-called ‘metope’ maeander (Fig. 56), leaves out of the black body of the vase only a narrow stripe with the maeander reduced to pothooks, and surrounds the bottom of the vase with long rays. But beside this method the other certainly persists. Its tenacious life is proved by vases like the Paris cauldron (Fig. 58) and its parallels from Naukratis, which show the archaic Rhodian band style alongside of the developed incised animal style on the same vase. In these hybrids which are essentially akin to the vases of Andokides (p. 115) the old stylizing of the figures is giving way, the rich store of filling motives is yielding to the prevalence of the rosette, the vegetable ornamentation is exchanging its vigorous plant-like appearance for thinner and more abstract shapes, which however take on a freer swing and submit to richer variations, the most important of which is the continuous tendril. At the same time the old technique of painting and leaving void spaces continues to be cultivated at a time, when elsewhere and probably also in the East the black-figured animal style has become the regular thing, and the filling ornamentation combined with it has assumed the blot-like shapes of the Corinthian and Vurvá stage. Finally the Rhodian style also adopts the new fashion. Thus this style from an early date shows itself extremely decorative and little inclined to actual representations. We should know nothing of them, if the plates, a favourite item in Rhodian fabrication, like their Phoenician metal prototypes, did not exchange the old concentric decoration of stripes for the division into two segments, the larger of which is occasionally adorned with the human figure instead of the usual animal or fabulous creature. The drawing of the figures adopts the method already familiar. The place of outline drawing of the men is taken by brown tinting, _e.g._, in the heroes fighting in the well-known scheme on the Euphorbos plate (Fig. 57), while the women retain the old technique, _e.g._ the Gorgon on a plate in London, which is an adaptation of the Oriental animal goddess, and quite [Illustration: PLATE XXIX. Fig. 58. LATE RHODIAN CAULDRON (LEBES).]