Among the signatures we must distinguish between potters and painters. We must never assume that the ‘maker’ is responsible for the adornment of his vases; it looks rather as if the painters had lived pretty independently and been employed first by one and then by another proprietor of a workshop. What it means, that now the potter signs, now the painter, sometimes both together, and that many strong personalities do not sign at all, cannot be made out in the present state of our knowledge. The love-names help to fix the chronology of the vases still more than in the black-figured style. We saw that Andokides was _kalos_, when Timagoras’ workshop was in full swing. When he is a full-blown painter, the ‘Epiktetan’ kylikes and an Oxford plate celebrate the youths Stesagoras, Hipparchos and Miltiades. If Miltiades is the victor of Marathon, Stesagoras his brother, and Hipparchos the archon of 496 B.C., their ephebic years and these vases must be fixed about 520 B.C. Memnon’s youth must fall about the same time; for one of the many kylikes with his name, like a lekythos signed by Gales, shows the bard Anakreon, who was entertained by the Pisistratidae, 522-514 B.C. The painters Phintias and Euthymides praise the youth Megakles; now on a votive pinax from the Acropolis this name was replaced later by another, and it is a plausible guess to connect this erasure with the banishment of a Megakles in 486 B.C., who about twenty-five years before might have deserved these praises. The youthful beauty of Leagros is in the time of the vase-painter Euphronios, and anyhow earlier than the destruction of Miletos, in which a Leagros vase was shattered: the Leagros who fell in battle as Strategos 465 B.C., must have been an ephebus in the last decade of the 6th century. His son Glaukon, who was Strategos in 440 B.C., dates the vases which celebrate him with his father’s name a generation later, so about 470 B.C. The only established fact from finds does not contradict the ‘Leagros’ chronology; in the tumulus of [Illustration: PLATE LVIII. Fig. 103. ATHENA AND HERAKLES: FROM AN AMPHORA IN THE STYLE OF THE ANDOKIDES PAINTER. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] Marathon (490 B.C.) the latest offering was a sherd of the kylix type with simple maeander (c.p. Fig. 115) which appears in the later ‘Leagros’ period. The Acropolis finds, which are prior to the Persian conflagration (480 B.C.), have not yet been sorted and sifted. According to this chronology the red-figured style must have made its entry into Athens about fifty years before the Persian War, with which it is customary to close the archaic period of Greek art, _i.e._, about 530 B.C.