At this later date the shapes become elongated, the lotus and palmette ornament loses colour, sweep and consistency. The hydriae bend their handles more steeply upwards: the row of palmettes enclosed by tendrils is preferred as framing ornament. The figures move more freely in the space, and are also more hastily drawn; in particular the rendering of folds becomes regular. The red stripes, which are painted quite meaninglessly between the folds, no longer remind us that they once indicated sewed parts of garments; white rosettes and red spots serve as surface patterns, a red stroke as border. On the fine hydria in Berlin (Fig. 100) probably of Euphronios’ time, which, it is true, is quite unlike its class, the old round formation of the eye actually approximates to the natural oval. The links with the red-figured style, especially common love names like Hipparchos, Pedieus, and Leagros, help us to date this style. Thus the circumscribed row of palmettes seems to appear in the early Leagros period (p. 114); the Berlin vase is thus moved to the end of the century, like a group of pelikai with charming genre scenes and a series of other vases of red-figured shape (p. 119). In the new century the black-figured production gradually dies away. Apart from the Panathenaic amphorae (p. 99) and other vases, which for ritual reasons remain conservative, only trifling small ware keeps up the old style. The prize vases can be followed as votive offerings on the Acropolis, and in exported specimens down into the 4th century, where they are dated to the year by archons’ names (one of 313 B.C. has been found); even in late times they do not give up the old type of Athena, but elongate it to agree with the slender proportions of the vase, and combine other later features with the old picture. In Boeotia black-figured painting, alongside of primitive attempts to imitate Attic red-figured vases, continued as long in the burlesque parodies of myth of the so-called ‘Kabirion’ vases; black painting on a light ground is found in the early Hellenistic ‘Hadra vases’ made at Alexandria, and similar late phenomena occur in various localities. These late black-figured vases show real progress in nothing but the development of a loose freely moving vegetable ornamentation: but this progress depended on pure brush-technique, not on the old incised style. [Illustration: PLATE LVII. Fig. 101. ATTIC VASE, LATE BLACK-FIGURED STYLE. Fig. 102. PANATHENAIC AMPHORA.] CHAPTER V. THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD