composition, but for the inscriptions; and so with many others, as we have also observed in the preceding class. It may suffice to describe one vase in detail as typical of the later Corinthian wares. This is the so-called Amphiaraos krater in Berlin,[1054] a column-handled krater of considerable size and very richly decorated. It belongs to a series exceptionally well represented in the Louvre (E 613–39; all found, like this, at Cervetri), and illustrating the absolutely latest development of Corinthian pictorial art. Its special interest is that it affords a close comparison in several points with the chest of Kypselos. The subjects are disposed in two rows all round the vase, of which the upper is the more important, containing two mythological subjects. These, which are unequally divided, one occupying more of the circumference than the other, are the Departure of Amphiaraos and the Funeral Games for Pelias,[1055] the ἀγὼν ὁ ἐπὶ Πελίᾳ of Pausanias.[1056] On the lower frieze are seven boys taking part in a horse-race, seven groups of combatants, and two marching hoplites. It will be noted that there is no frieze of animals. The Amphiaraos scene depicts that hero in the act of ascending his war-chariot, in which the driver Baton stands; he turns to look at his family behind, consisting of two daughters, a son, and an infant in the nurse’s arms, and last of all his wife Eriphyle, who stands in the rear with the pearl necklace, the price of her treachery. Her children seem to be supplicating for her. In the background Amphiaraos’ house is indicated by a Doric building. The correspondence of this scene with the description of the Kypselos chest[1057] is extraordinary; the latter might almost be a description of the vase. An interesting feature of this painting is formed by the animals which are scattered over the scene: a hare, a hedgehog, an owl and another bird, a serpent, a scorpion, and a lizard or salamander.[1058] The funeral games for Pelias adjoined the Amphiaraos scene on the chest, just as they do here, except that the scene on the vase is only an excerpt from the contest of the Pentathlon, which is there complete. We have here only the wrestling (by Peleus and Hippalkimos), and in place of the other scenes a chariot-race, with the judges waiting to decide the result; as on the chest, tripods are standing ready as prizes for the victor. It must not, of course, be supposed that these scenes are directly copied from the chest—the discrepancies are too great, although the parallels are very interesting; but the only object of such comparisons is to assist us to an idea of the appearance of these great contemporary works of art.[1059]