That all these representations were developed by vase-painting alone is more than improbable. That the Bacchic scenes of toping and dancing were created on the actual vase, is most likely; but one is often enough compelled to assume other sources. The fight of Herakles with the lion, for instance, in its oldest form is the borrowing of an Oriental type, which is composed for a tall rectangle, and is expanded by the vase-painters for their purposes by filling figures, ‘spectators.’ The gifted artist, who gave this heraldic type the more natural impress which was regular in the older black-figured style, was perhaps a vase-painter; the creator of the later black-figured type was certainly not, for his horizontal group is certainly a fine invention but always has to be adapted artificially to the vase surface. As with the wrestling of Herakles, so it is with Theseus’ struggle with the Minotaur. The same sort of extension occurs on a favourite subject of older black-figured style, the quadriga in front view, whose horses heraldically turn their heads sideways, whose helmeted warrior is in front view while the unhelmeted driver is in profile. This type, certainly invented for a square, is also known in bronze and stone relief, and the question, in what technique it first appeared, will scarcely be answered in favour of vase-painting. For a square, too, the finely compact group of Herakles wrestling with Triton was first composed, a theme common on Attic vases from the hydria of Timagoras onwards; the older wrestling scheme, superseded by this type, in its Herakles spread out before the eyes of the observer and kneeling as he wrestles, still shows strong affinity with the Orientalizing frieze compositions (p. 46), and is for vase decoration much more typical than the later invention, which on vases always has a ‘borrowed’ effect. The dependence of vase-painting on other techniques is finally evidenced by the so-called ‘couplings’: the best-known instance is the combination of the departure of Amphiaraos with the Funeral-games of Pelias on a Corinthian (Fig. 66), an Attic and an Ionic vase, a combination which is borrowed from an inlaid wooden chest of Corinthian workmanship at Olympia (‘the chest of Kypselos’) or a prototype from which both were derived.