We saw above, that the workshops of Pamphaios and Nikosthenes open their doors to it: neither master breaks abruptly with the old style, which often asserts itself together with the new on the same vase. This contrast of the two styles is made clear by no one more obviously than the potter Andokides on his fine amphorae, which are directly in line of succession with Exekias; never is the essence of both styles so plain as when on such a vase the same subject is treated by the same painter’s hand in the old and in the new technique. The unsigned, but certainly Andokidean Munich amphora (Fig. 103) is not one of these instances in spite of the similarity of the subject; its black-figured Herakles scene is certainly by a different hand from its red-figured, in which the same delicate and original artist as on most of the signed works (the ‘Andokides’ painter) expresses himself. If this painter is identical with the potter, Andokides was not merely in shape and decoration of his vases but also as draughtsman a pupil and successor of Exekias. He has inherited the feeling for elegant detailed drawing and for richly ornamented garments. In the Herakles scene we see the same joy in a harmonious picture as in the sea-voyage of Exekias (Fig. 93) and the game of draughts (Fig. 96), which he actually copied; and the same intense absorption in the subject makes all other works of Andokides charming. In much the drawing reminds us of the teacher, particularly the flat layers of drapery, which already resolve the chitons into rich folds and end in the border more naturally, but do not attain the life-like waving of the late works of Amasis. The filling of the space with vine branches also is more in accord with the old technique than the new. But the more advanced pupil is shown not merely by the renewed study of the body, which appears in the drawing of hand and foot, in pointed elbow and knee, and in Herakles’ leg shown through the drapery, but also by the more compact composition and the individual treatment of the heads.