After all this one will not hesitate to look for a strong reflex of the great art of painting on the vases, alongside of the special property of the vase-painter and typical ornamental figures equally common to all art, or to picture to oneself wall-paintings or easel pictures, like the birth of Athena by Kleanthes, after the fashion of the best vase-paintings, which are least constrained by ornamental considerations, or to reconstruct from the copies of vase-painters compositions like the Destruction of Troy (Iliupersis), the Return of Hephaistos, the Reception of Herakles into Olympos. One is particularly impelled this way, when the vases give now shorter, now longer, extracts from the same large composition; thus we have a reflection on some dozen vases of Exekias and his successors of the fine representation of the heroes Aias and Achilles surprised by the Trojans while deeply absorbed in a game of draughts, and warned by Athena just in time (Fig. 96). One cannot conceive of any difference of principle in perspective, in the rendering of the body and the drapery, in the spiritual content, between vase-painting and free painting; they both are children of one time. Nor did the vase-painter feel any necessity to alter the composition of his patterns. Only as he had to decorate framed bands, the law of isocephalism was more binding for him than for the great art. Hence his strong disinclination for “landscape,” which we often meet with in Corinthian and Ionian pinakes and wall-painting, but on the vases never, or only in palpable caricature; the painter who on a hydria from Caere copied a seascape with the Rape of Europa, was obliged to place beside the figure what looks like a mole-hill but is intended for a mountain.