The Amphiaraos krater is more developed than the Eurytios vase, not merely in technique. The painter of the later vase, though not so gifted as his colleague, draws more cleverly, and works with a set of types before him, as the frieze of riders shows. The advance becomes plain in the shape of the vase. The Eurytios krater encloses an almost uniformly swelling cauldron between a lip ring which is very low and a foot which spreads out in ample dimensions. From this round-bellied archaic shape we pass to a later more defined and elegant one in the Amphiaraos krater, which has a higher neck, a steeper and much less swelling body, with its lower part running to a point, till finally the outline almost resembles an inverted triangle and from the handles a rectangular or curved bridge has to be built leading to the high rim (krater à colonnette). The tendency to development, which we can read out of the vase shapes, may be taken as a symbol of the history of style. For a Greek vase was always something organic, as much so as a tree or animal. Unfortunately, besides the large kraters with their numerous figures, which were favourite articles of export, few vases are preserved. In the scene on the Eurytios krater we get the lebes with stand, also the jug and drinking cup (kylix), which exist in various extant specimens. The kylix has an offset lip (as in Fig. 24), and often knobs on the handles, the interior picture is framed by tongue pattern. Beside the necked amphorae, which like the kraters seldom have any other ornament than rays, shoulder tongues and neck rosettes, the similarly decorated big-bellied amphorae continue, which like their Attic parallels (p. 51) put human busts or animal representations of old and new style into the figure panel. The three-handled water pitcher (hydria) has the type with vaulted shoulder common in the older black-figured style, and adorns it with spirals and maeanders. All these ornaments, to which may be added the double lotus and palmette of the Eurytios krater and occasional net and step patterns, partake of the solidity and variety of the style. Strangely enough, the phase of the Corinthian style here described is for us the end of the fabric; not one of these [Illustration: PLATE XXXIV. Fig. 67. CORINTHIAN PLATE. Fig. 68. THE SLAYING OF TYPHON BY ZEUS: CHALKIDIAN HYDRIA.] [Illustration: PLATE XXXV. Fig. 69. CHALKIDIAN AMPHORA.]