All is living, original and drastic in its conception, as perhaps was only possible for an Ionian. The movements of the Satyrs and the nude maidens, the animals and plant-life are caught from nature, and this study betrays itself in various details. The face of Phineus, still painted red like that of the Satyrs, is drawn in front view, which we have hitherto only found in the helmeted warrior’s head, the collar-bone and chest muscles are rendered, the eyes of the Boreads are already much reduced in scale. Especially important is the treatment of the drapery, not to mention the linen chiton of Dionysos with its parallel lines indicating the material, or the long red chitons of the women and the curved outline of the shirts of the Boreads, or the garments of the Harpies adorned with Ionic crosses and borders; important innovations appear in the himatia, that of Phineus is divided into [Illustration: PLATE XXXVIII. Fig. 74. PHINEUS; DIONYSOS: FRIEZE ROUND THE INTERIOR OF AN IONIC EYE KYLIX. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] red and black stripes, those of Dionysos and the women show rendering of folds. That the himation rather emphasizes than conceals the outline of the back, is a true Ionic feature. Beyond this stage, the ‘Phineus’ fabric cannot be traced. Generally the Cycladic pottery of this period is hard to get hold of. We do not know whether there were more factories on the islands, and some isolated but allied specimens with more fully Ionic alphabet cannot yet be localized. On the other hand, the ceramic history of the Greek East offers at least some fixed points, though the transition from the old style has not yet been cleared up. We were able to accompany the Rhodian-Naukratite and the ‘Fikellura’ styles to the very threshold of the black-figured, but here the thread seems to snap. Shallow bowls found in Egypt and South Russia with bud decoration and black-figured interior designs, which were imitated by the Attic Vurvá style, and amphorae with remains of the old ornamentation and big isolated animal-silhouettes in the field, perhaps represent the latest products of the Rhodian style. The ‘Fikellura’ style finds its continuation in a ware, which was certainly produced in Klazomenai, perhaps also in several places at the same time, and has come to light not only in the Ionian region and the colonies in Egypt and the Black Sea, but also in Italy. The Klazomenian style has in common with its predecessor not only a series of ornaments (tongues, rays, late Rhodian garlands, continuous tendrils, rows of crescents, friezes of leaves, ‘metope’ maeanders, buds in the field, scales over a surface), but continues the old shape of amphora and has the same preference for loose decoration: beside the vases adorned in bands, on which the animal friezes are driven out of the chief band, it is very fond of a field consisting of a reserved panel or running all round, and