For that we must not lay stress on the head of Dionysos in front view, for the god’s mask-like appearance passed from cult into vase-painting; but we may point to the diminished heaviness of the figures, the smaller size of the eye, the division of the himatia into stripes, which here and there converge like folds, and the reduction in size of the inscriptions. The other friezes exhibit Klitias as a master of the delineation of life and movement: the arrival of the ship of Theseus at Delos (Fig. 89), the hunt of Meleager, the battle with the Centaurs, the chariot-race, the return of Hephaistos, the adventure of Troilos, and the delightful frieze on the foot with the battle of dwarfs and cranes; even the heraldic animal frieze is seized by the same liveliness, for between the heraldic sphinxes and griffins the animals, now treated in quite an elegant and concise way, are attacking each other. How much of these scenes is due to the inventiveness of Klitias and his direct observation of nature cannot be made out. He has not got the rough freshness and naturalism of the Ionic painters, but instead a marked feeling for clear and speaking types; and generally speaking, discipline and the gift of abstraction seem to have been more characteristic of the Athenians than of the Ionians, who set more carelessly to work. Perhaps Klitias got from eastern masters the interruption of the heraldry in the animal frieze by fighting groups; and at any rate the Satyrs who accompany the drunken Hephaistos come from the East into Attic pottery. In the technique of the figures, the old style is worthily putting forth its last efforts; the white is still put direct on the clay, the man’s face is coloured red, black horse alternates with white. But with the perfection of the clay and the black used in painting, and the minute detail of incised lines, a new feeling for colour is brought in, which leads away from the old motley effect; the masters of the [Illustration: PLATE XLIX. Fig. 90. KRATER BY KLITIAS AND ERGOTIMOS: “THE FRANÇOIS VASE.” _From Furtwängler-Reichhold, Griechische Vasenmalerei._] François vase themselves in their later works go over to the new system, which paints a ground for the white and gives up red in the male body, a system which, perhaps, other less thorough artists had already set going.