Among the vases of this period one of the most remarkable is the so-called Dodwell vase in Munich (Fig. 90),[1051] found at Mertese, near Corinth, about the year 1800, and purchased by the explorer Dodwell. It is a cylindrical jar or box (_pyxis_), with cover, decorated round the sides and on the top. Round the body are two friezes of animals, with numerous flowers as ground-ornaments; on the top of the cover is a frieze representing a boar-hunt, in which eight fancifully-named personages take more or less active part. Of these Philon lies dead under the boar’s feet; Thersandros attacks it with a sword in front, and Pakon discharges an arrow at it from behind. Behind him Andrytas hurls a spear, and he is followed by four inactive figures, all draped and unarmed—Dorimachos, Sakis, Alka ... and Agamemnon. The scene is closed by a heraldic group of two Sphinxes. It will be observed that here, as in other contemporary scenes with human figures, the ground-ornaments are already showing a tendency to die out; perhaps under the influence of Ionia, where it was soon discovered that they interfered with the effect of figures in action. The alphabet of the inscriptions enables us to date this vase about 650–620 B.C. [Illustration: FIG. 90. THE DODWELL PYXIS (COVER).] The _pinakes_, or votive tablets, from Penteskuphia, of which mention has been made elsewhere (p. 51), form an important feature in this group, both from their subjects, their inscriptions, and the method of painting. They appear to range in date from 650 to 550 B.C., and fall into three classes in point of style. The earliest have designs in rude silhouette without incised lines; in the second only the contours of the figures are incised; the third are like the vases, with incised lines and purple details. In a few cases the clay is red, not drab-coloured. Some are decorated on both sides, but the majority on one only, and they were clearly intended for hanging up in a temple. Two of them are signed by artists, Timonidas and Milonidas,[1052] and there are other interesting inscriptions, besides the ordinary dedications to Poseidon and Amphitrite (see Chapter XVII.). The subjects are partly the same as on the vases, but the majority fall under two heads: (_a_) Poseidon and Amphitrite, standing or in a chariot (Fig. 115); (_b_) _genre_ scenes from Corinthian industries, such as miners digging out clay, potters and painters at work, and vessels exporting pottery over the sea (cf. pp. 207, 216, and Chapter XV. § 5). Of the subjects common to the vases, Oriental animal-types and horses occur most frequently; also rosettes and floral ground-ornaments. ------------------------------------------------------ PLATE XXI [Illustration: 1. IMITATION CORINTHIAN KRATER, RETURN OF HEPHAISTOS; 2, CORINTHIAN KRATER WITH BOAR-HUNT (BRITISH MUSEUM).] ------------------------------------