5. The vases of the fifth class (600–550 B.C.) are characterised by the prevalence of =human and mythological subjects=, with large friezes of animals, a general use of incised lines, and an absence of ground-ornaments. They are mostly of considerable size, but small vases still continued to be made during the sixth century, as is seen in the “Proto-Corinthian” lekythi. The amphora and hydria now first make their appearance; the later lekythi approach more to the Attic form.[1053] One or two other typical shapes may also be noticed, such as the column-handled krater (Plate XXI.) and the trefoil-mouthed jug with a panel on one side of the vase only; the prototype of the former we have seen in the krater of Aristonoös. Another important feature is the general use of a red ground in the place of the old creamy white; and yet another, the use of white accessories, especially for the flesh of female figures. It should be noted that this white is always applied directly on the clay, as in Ionian fabrics, not as in the Attic, upon the black varnish. We may bear in mind that it was about this time that the Athenian Eumaros _marem a femina discrevit_, according to Pliny; but his date is uncertain, and the bearing of this invention on the vase-paintings is not to be accepted without hesitation. For the faces of male figures purple is often used, and, generally speaking, the vases tend to present a polychrome appearance. This again is an Ionian characteristic. The subjects now take a much wider range, and include almost every variety known in the earlier part of the sixth century. Friezes of animals seldom form the main motive of decoration, but are placed in subordination either on the shoulder or low down on the body. Some of the older types still linger, such as the monsters and fish-tailed sea-deities, and also that of a heraldic group of two animals with a palmette and lotos pattern between, suggesting the old Assyrian motive of two animals guarding the sacred tree. Generally, there is a great advance in composition; but two traditional principles are still observed—the juxtaposition of figures turned in the same direction, as in Oriental compositions, and a symmetrical disposition of the two sides converging to a centre, a “Continental” principle already seen in the Dipylon vases. The subjects taken from daily life include combats, banquets, Bacchic or grotesque dances, hunting-scenes, warriors setting out for battle, and processions. Some appear now for the first time, as, for instance, the banquets. Among the mythological scenes, Herakles and his adventures find most favour; scenes from the Trojan cycle are far from uncommon; and other myths of more isolated character are those of Amphiaraos, Perseus, and the Theban cycle (Tydeus killing Ismene). Many of the mythological scenes are really only _genre_ scenes with names added; for instance, the krater in the Louvre with Herakles’ reception by Eurytos (E 635), is only an ordinary banquet-scene in