the horizontal shoulder is no longer dominant in the general view, they pass from heraldic constraint to parade order, and are also occasionally replaced by cleverly disposed dancers. The reverse of the vase also more and more shakes off animal decoration and replaces it by ornamental compositions, as by the heraldic quadriga or the heraldic riders. Friezes of animals beneath the main scene (Fig. 68) become very rare. However markedly the decoration of the vase departs from the old style, yet in spite of that there is in contrast with the Corinthian style a marked decorative invasion to be traced. The vases that have nothing but animal decoration are numerous, and the rosette often asserts itself again. This decorative invasion, which is connected with the perfection of technique and marked talent of the Chalkidian artizan, does not detract in any way from the figure scenes. The latter preserve their old vigour and power of observation, some masters even raise it to a most intense elasticity, and breathe into the old types a new and vivid life, which in union with the line technique and arrangement in space makes these vases superior to most of the other black-figured pottery. How Herakles on the London amphora (Fig. 70) unmercifully deals the death-blow to the three-bodied Geryon, or on the similar Munich vase (Fig. 71) to Kyknos, is brought before our eyes with unambiguous matter-of-fact and verve. The chest of Kypselos had already thus represented Herakles’ fight with Geryon, and the Chalkidian painter rests here, as often and especially in his battle scenes, on Corinthian types. But his rendering is anything but a borrowing, and bears witness to fresh and vigorous conception. The ‘Herakles and Kyknos’ is based on the old fighting scheme, which represents a warrior with raised right arm assailing an opponent who almost kneeling moves to the right but looks round; and so in effect only combines the ‘duellist’ (p. 39) and the runner with bent knee. On the Chalkidian picture the old ‘exigency of space’ type is hardly any longer to be traced; everything has become [Illustration: PLATE XXXVI. Fig. 70. HERAKLES AND GERYONEUS: FROM A CHALKIDIAN AMPHORA.] [Illustration: Fig. 71. THE SLAYING OF KYKNOS BY HERAKLES: FROM A CHALKIDIAN AMPHORA.] expressive and characteristic. To be sure the contrast between the body in front view and the legs in profile and the spreading over the surface are still hardly toned down, but the thrust dealt with the right arm, the clutch of the left, the foot pressed against the back of the opponent’s knee are full of vigour, and the collapse of the bleeding son of Ares, his prayer for mercy while he plucks the victor’s beard, the dimmed eye with its pathos, the composition and the filling of the space are very artistic.