[Illustration: PLATE LIV. Fig. 96. ACHILLES AND AIAS PLAYING AT DRAUGHTS: FROM AN AMPHORA BY EXEKIAS. Fig. 97. ATTIC NECKED AMPHORA WITH SATYR-MASK.] [Illustration: PLATE LV. Fig. 98. NECKED AMPHORA WITH THE SIGNATURE OF THE POTTER AMASIS. Fig. 99. DETAIL FROM THE INTERIOR OF A CAULDRON BY EXEKIAS.] by the grouping, which in the other vase is transferred without change to satyrs, by the beginning of himation folds, but also by many details of the very individual style. The aversion to white colour is interesting. On both vases the linen chiton of the god is left black; the Paris maenads are rendered in outline only: it is but seldom that the reaction against the old parti-coloured scheme goes so far. Parallels are provided by the Athena of Kolchos’ jug and the girl-busts of the ‘little masters’ (Fig. 91). Both the other amphorae of Amasis are more advanced. The shape of the vase is slimmer, the decoration simpler, the relation of figures to space freer. The bodies are no longer the thick-set broad-thighed type of the older style: the eye plays no longer so prominent a part. The short chiton is not merely laid in black and red layers but even provided with a quite naturally waving border: the artist thus far surpasses the standard of Exekias and even of early red-figured masters. He need not on that account be put very late, for the simple Ionic masters of the Caeretan hydriae, perhaps his countrymen, made this border before him. This Ionism is in favour of Amasis, who signs only as potter, having himself painted all his vases, and having played the pioneer not only in vase shapes and decoration but also in figure style. Exekias (in whose works the unity of the whole is often expressly emphasized by the inscription ‘made and painted me’) does not attack the problem of folds so boldly. Even on the two fine necked amphorae, which praise the favourite of his later period, as a good Athenian he lays the drapery in neatly-ironed layers. The slender Munich necked amphora (Fig. 97) goes still further beyond the Chalkidian models (Fig. 69). The neck ornament connects it with the late works of Exekias, the eye decoration with the kylix type of the same time, and even the space-filling vine-tendrils, which perhaps Amasis introduced from the ‘Phineus’ factory into Attic painting, are a favourite motive in later times. The satyr mask, like the Dionysos mask, probably passed from cult into decorative painting; if Klitias represents Dionysos, and Amasis the satyr, with head in front view, the influence of these masks is not to be mistaken.