The group, which one is inclined to make parallel with the red-clay Corinthian, may be named the ‘Sophilos’ group from the fragments of a ‘lebes’ found on the Acropolis (Fig. 86). In contrast with its immediate predecessor the Sophilos vase vies in motley effect with Corinthian ware. Ornament is richly painted; himatia and borders are picked out in colour, women and linen chitons have a white filling; in the red of the male face and the varied colouring of the horses the system of contrasted colours is as plainly exhibited as in the red colouring of the male breast or of the whole male body on other contemporary vases. The marriage of Peleus and Thetis is the subject, in a type repeated on the François vase (Fig. 90), which we see developed on Corinthian kraters, probably under the influence of the chest of Kypselos. Who introduced into the scene the Muse in front view playing on the syrinx, cannot be stated; the lower part of the body in profile is in marked contrast with this bold front view; that it is of ornamental origin, perhaps from a double Siren, might be suggested without its being too venturesome. The frieze is framed between a broad lotus and palmette pattern and a stripe with large animals. Whether the filling ornament has been omitted from the animal as well as from the figured frieze, in which nothing but the big lettering reminds us of the old requirement of filling the space, cannot be ascertained from this specimen; a second vase of the same painter shows between the animals, which still suggest the Vurvá style, isolated large rosettes, and other vases of this group make a palmette flower or bud with stalk project into the field. These isolated echoes of the old filling ornamentation, influenced by the East like the gradually appearing friezes of buds and leaves (p. 83) disappear about the middle of the century; but the animal friezes themselves live on longer.