The latest wares of the colony of Daphne (abandoned in 560 B.C.) show the transition to the rendering of folds of drapery, which takes the place of the old parti-coloured surfaces in the group of vases which took its rise about the middle of the century. In this later group, to which a series of ‘lebetes’ with topers, satyrs, centaurs, and battle scenes is an obvious introductory link, and which culminates in two amphorae at Munich (Figs. 76 and 78) and one in Castle Ashby, there enters into the old style varied, free and easy, broadly even laxly rendered, a peculiar severity and discipline. The three chief specimens, necked amphorae with the continuous scene preferred by the East, are more defined and elastic in shape, more finished in shape and colour, more ornamental and elaborate in the rendering of the figures, than was the case with the earlier style. The conclusion which naturally suggests itself, that this new spirit came from the West and the Chalkidian-Attic region, is confirmed by the ornaments. Beside the Ionic looped and plaited bands, leaf and bud friezes, and the continuous tendrils (Fig. 76), come the double rays, the Western palmette and lotus system; and when the painter scatters animals among the ornaments (Fig. 76), he follows old Ionic tradition, but the hare and the hedgehog with the ostrich riders of the Castle Ashby amphora are of Corinthian origin (Fig. 66). In the treatment of the figure, the meeting of Eastern vigour and Western severity makes as charming an effect as the genuinely Ionic and very decorative composition; the scene of a Munich amphora arranged round a centre (Fig. 77) with the cunning Hermes, who creeping up on [Illustration: PLATE XL. Fig. 77. HERMES STEALS THE COW IO FROM THE GIANT ARGOS. FROM AN IONIC AMPHORA.] [Illustration: PLATE XLI. Fig. 78. CENTAURS HUNTING: FROM THE SAME AMPHORA AS FIG. 77.] tip-toe steals away the fair cow Io from the sleeping giant Argos, and the picture of the Centaurs hunting on the reverse (Fig. 78) are full of ornamental vigour and at the same time full of fresh observation. The left hand of the giant shows a new study of nature compared with the old-fashioned right of Hermes and left of the front Centaur; in the giant the artist is struggling to represent the anatomy, and the mantle of Hermes plainly falls in layers, in contrast with the absence of folds in the chiton.