Another interesting point in connection with the Proto-Attic vases is the introduction of mythological subjects, as on No. 6 (Herakles and Antaios), No. 8 (Herakles and the Centaur Nessos), No. 10 (Perseus and Athena, and a Harpy[978]). The only parallel to this early appearance of myths on vases is to be found in the Melian class (see below, p. 301), the Aristonoös krater (see below) and the Euphorbos pinax (p. 335), which, however, is of later date. It will be seen that they only occur in the later group of the Attic vases. ------------------------------------------------------ PLATE XVI [Illustration: From _Wiener Vorl._ THE ARISTONOÖS KRATER (IN THE VATICAN). ] ------------------------------------ On two of these it is to be noted that inscriptions occur, identifying the figures (Nos. 8 and 10). These are the oldest painted inscriptions on Attic vases, but henceforward they increase in number, at least in the Athenian and Corinthian fabrics; they are always more characteristic of the mainland than of Asia Minor.[979] There are two early signed vases which may possibly represent the work of Athenian artists prior to the time of the François vase, the cup by Oikopheles at Oxford,[980] and the famous vase of Aristonophos,[981] Ariston of Kos (ὁ Κῷος), Aristonothos, or Aristonoös as various scholars interpret the name.[982] The former, however, is somewhat archaistic in character, with careless rather than incompetent drawing, and hardly earlier than the sixth century; and the latter has been claimed with much probability as Ionian work, on account of the treatment of certain details, as well as on the ground of the name Ariston of Kos (if this interpretation be accepted). The inscription is not conclusive either way, and it may also be here remarked that the krater has several points of resemblance with the well-known “Warrior” vase of Mycenae (Fig. 88),[983] which is probably later in date than the rest of the pottery from that site, being found outside the Acropolis. The Aristonoös vase (Plate XVI.) is usually dated in the seventh century, and is interesting for its subjects as well as for its artistic position. On one side is a sea-fight, a subject only common on Greek vases in the Geometrical period, and therefore obviously derived from that source; on the other, the blinding of Polyphemos by Odysseus, a subject popular in archaic vase-painting (see Chapter XIV.), and found in Cyrenaic and other early examples. At first sight this vase would certainly seem to be of the Proto-Attic class, showing the transition from Geometrical to developed Attic style; but the Mycenaean and Ionian elements must not be left out of consideration. As regards the Warrior vase, M. Pottier has given good grounds for showing that it also is to be reckoned as Proto-Attic. But we must not leave out of sight the view