of the decoration of the neck by means of an ornament, an animal head or a human head. In the field it likes to put instead of the heraldic pair a single animal, a sphinx before a standing man or upright branch, an isolated palmette and lotus cross, which are in a measure constituent parts of heraldic compositions, and shows the same freedom, going even beyond that of the Phineus painter, when it makes isolated figures, dancers, running girls, or men wearing mantles, the central motive of its heraldic sphinxes or cocks, and when it puts a runner with bent knee between two lions that turn away from him (Fig. 75). The palmette and lotus-cross and the animal types differ from Western types; the selection, too, is characteristic of the East. There is a special preference for the Siren: this bird-woman is used surprisingly often heraldically, and in rows to make a frieze. The female panther occurs as well as the male; the grazing deer is a Rhodian legacy. The ostriches show knowledge of Africa, the winged horses and boars connection with Asiatic art. The Klazomenian style is particularly strong in the new formation of fantastic beings, to which the near neighbourhood of the East gave the impulse. The seahorse and the Triton were invented somewhere in this area: to the ‘Fikellura’ man with the head of a hare Klazomenai adds a being with a tail and a lion’s head among human revellers, among dancing men and women appears suddenly the bearded monster with the horse’s tail, the Satyr (Fig. 75). The stock of types varies considerably from that of the West; this is particularly clear in the scenes with human figures. Beside the pictures of riders and battles, beside the few preserved legendary scenes, among which the most important are the battles of Amazons, who here in the East have become mounted Scythian women, the prominent place is taken by scenes of drinking and dancing in the [Illustration: PLATE XXXIX. Fig. 75. SATYR AND MAENAD: KLAZOMENIAN VASE FROM KYME. Fig. 76. NECK-DESIGN OF AN IONIC AMPHORA.]