its decorative effect for almost a century, appears here for the first time; the triangular scheme of two wrestlers seizing each other by the arms and pressing head against head, which survived to the time of Nikosthenes, was taken by the Amphiaraos krater (Fig. 66) from the above-mentioned chest of Kypselos (p. 67); the nuptial procession of Peleus and Thetis which we shall meet on the lebes of Sophilos and the François-vase is prepared for in Corinthian vase-painting; and the battle-scenes, rider-friezes and chariot-races, of which there was a beginning in the Protocorinthian style, were most richly developed by the Corinthians, and adopted by Chalkis and Athens often without any essential improvement. Thus one may be sure, that a number of other types, which are not represented in the selection that accident has given us, started their victorious career from Corinth, and that the lost great art of Corinth, the bronze industry of which we have specimens and the richly-adorned chest of Kypselos described by Pausanias supplied to the vase-painters a number of mythological compositions, which influenced other manufactories. Unfortunately the greater part of this rich treasure is lost to us. The loss is the more to be lamented, as what we have shows us a fine inventive talent on the part of the Corinthian artists and a magnificently free and easy conception of life and legend. The Homeric poetry and the Epic inspired by it, the lays of Peleus and Herakles, the ballad poetry now becoming very fashionable, from which come _e.g._ the birth of Athena and probably also the Return of Hephaistos to Olympos, are reflected on these Corinthian vases in inimitably vivid and drastic fashion; and the vase-painter also gives scenes from daily life, carouses, drunken men who dance wildly with naked women, kitchen and winepress, riding and driving, marching out to battle, and the wild mellay itself. It is particularly on the kraters (Figs. 64-66) that we can trace how the accumulating material gets space on the vases; animal decoration, in which heraldic cocks are very popular, retires ever more to the reverse, under the handles, into the base stripe, and also by preference is replaced by lines of galloping riders, who form a lively decorative foil to the mythological principal picture (Fig. 64). Meanwhile filling ornament disappears. The flying bird over the rider (Fig. 65) renders the same service as the rosette, nay a better; it transplants the scene out of a decorative space into an actual one, the open country; and the space-filling animals of the Amphiaraos vase, which are traditional (p. 40), are not intended merely any longer to enliven the vase surface but the wall of the house, the floor and the air. Thus the liberation of the field, for which Timonidas and his fellows paved the way, is attained. With this goes hand in hand the liberation of figure-drawing from ornamental constraint. The outspreading of the figure in the surface,