exceptionally fills the whole circular space (Fig. 59). Both plates show early beginnings of incised work, the Gorgon in the inner marking of the drapery, Hector’s shield in the drawing of the flying bird. The view that the incised technique in figures is borrowed from Protocorinthian work receives support in this shield with its Argive suggestion, and in the Argive lettering, with which the excellent artist, roughly contemporaneous with the Chigi jug (Figs. 35 and 36), has transformed a conventional composition into a scene described in the 17th Book of the Iliad. The full silhouette with inner detail incised appears only in specimens, which from their degenerate filling ornaments are plainly late products of the 7th century, _e.g._ a plate with a running Perseus. That when this happens the eye retains its oval shape, is characteristic of the Eastern Ionic school. This transition to the black-figured style can be better followed in a closely allied pottery, fixed by the contemporary inscriptions of dedicators to the Milesian colony of Naukratis in the Delta. While the old filling motives are coming to an end, and the vegetable stripe ornamentation is being increased by the addition of continuous tendrils and confronted lotus and palmette, and rows of circumscribed palmettes, of bands of buds and rows of pomegranates, the animal frieze adopts the incised full silhouette. The human representations, often of a high order of excellence, gradually asserting themselves beside the animal decoration, show a reluctance in taking this step. The old brush technique is still maintained in the specimens, which reserve thin lines in the silhouette instead of incising them (Fig. 60); and also the brown tinting of the male body (Fig. 61) seems to continue in this area longer than elsewhere. These conservative features are balanced by an innovation in colouring, which like the change in plant ornamentation denotes an important step to the style of the 6th century; even before the actual decay of filling ornamentation, Naukratite painting (as in the Praisos plate, Fig. 29) begins to paint in white the light flesh of women, _e.g._ the face of the sphinx; and the same colour is used in the Herakles sherd (Fig. 61), on which the lion’s skin still appears in the ground of the clay, in order to contrast with the linen jerkin.