This survival of old decorative tendencies in a new shape appears still more plainly in other vases of the “Sophilos” period. The amphorae, which leave a “metope” unpainted to carry their figures or make the figure field continuous, when they do not cover the whole body with stripes, have like the Klazomenian on the neck a head, a lotus and palmette cross, or a circle between zig-zags (the amphora which Dionysos is dragging on the François vase is of this type), and prefer still to decorate their stripes and fields with heraldically arranged animals. The Ionic liberties too, the meaningless compositions, are not infrequent, just as beside many Corinthian echoes in the friezes of animals and riders, Ionic patterns often assert themselves in the drawing and colouring of the animals, and in the shape and decoration of the vases. The kraters and hydriae which are parallel with the Corinthian, give the same impression. Of the smaller vases we may select two hasty compositions, which cannot compare with the fine work of Sophilos, but in their way help to enlarge our idea of the period. The Munich tripod-vase (Fig. 87) in the stripe on the rim shows alongside of the old animal composition two wrestlers of the Corinthian scheme and a horse race from the same source, the succession of which is interrupted by a fallen horse just as the animal friezes of contemporary vases contain fighting animal groups; and a kantharos of Boeotian manufacture and shape (Fig. 88) over the animal frieze introduces the wild dancers, who as at Corinth, Chalkis and in East Ionia prepare the way for the Satyrs. [Illustration: PLATE XLVIII. Fig. 88. BŒOTIAN KANTHAROS. Fig. 89. ARRIVAL OF THESEUS’ SHIP AT DELOS: DETAIL OF THE FRANÇOIS VASE, FIG. 90. _From Furtwängler-Reichhold, Griechische Vasenmalerei._]