Hartwig, pl. 70, 1: cf. _Il._ iii. 33. Footnote 1920: _J.H.S._ xvii. p. 75 = Fig. 82; _Amer. Journ. of Arch._ 1890, pl. 22, p. 437 ff.; _Arch. Anzeiger_, 1893, p. 9 (vase in Marseilles). Footnote 1921: Berlin 2324 = _Wiener Vorl._ 1890–91, pl. 7, 1. Footnote 1922: B.M. E 1; Bibl. Nat. 128; _Boston Mus. Report_, 1899, No. 21; _Mus. Greg._ ii. 31, 2; Reinach, ii. 225 (lion and panther fighting). Footnote 1923: Gsell, _Fouilles de Vulci_, pl. 9 (in Boston). Footnote 1924: B.M. B 382, E 4; Louvre F 84 and F 54 = Fig. 96, Vol. I. p. 381. Footnote 1925: Louvre F 125 (ram); Berlin 4042 (bull) and 2266 (horse); Munich 1171 and _Mus. Greg._ ii. 64, 3 _a_ (cock). Also on exterior of B.F. kylikes: cocks and hens, B.M. B 391–92; Louvre F 92, F 380; Bibl. Nat. 317; Reinach, ii. 171. Lion and bull, Louvre F 313. Apes, _Sale Cat. Hôtel Drouot_, May 1903, No. 71. See generally Hartwig, _Meistersch._ p. 565. Footnote 1926: Hartwig, _op. cit._ pl. 63, 1. Footnote 1927: Bibl. Nat. 175–76. Footnote 1928: Munich 468 = _Philologus_, 1898, pl. 1. Footnote 1929: Schreiber-Anderson, pl. 80, 3. Footnote 1930: Berlin 2517 = _Coll. Sabouroff_, i. pl. 65. Footnote 1931: Reinach, i. 96 = Baumeister, iii. p. 1985, fig. 2128. For the inscription on this vase, see Chapter XVII. Footnote 1932: See Schreiber-Anderson, pl. 63, 6; _B.M. Cat. of Vases_, iv. p. 19, F 254–68, and references there given; also Vol. I. pp. 194, 487, Plate XLIV. Footnote 1933: B.M. B 57, B 58; Louvre E 703 = Reinach, ii. 92; Bibl. Nat. 172. Footnote 1934: B.M. B 28, B 31; and see p. 185, note 1925. Footnote 1935: Rayet and Collignon, p. 330 = Reinach, i. 503: see p. 273. Footnote 1936: R.F. kalpis in Louvre; _Anzeiger_, 1889, p. 93; B.M. E 759: see for this and the following subjects Hartwig, _Meistersch._, p. 368, note; also p. 177 above. Footnote 1937: Louvre F 127 (Pamphaios). Footnote 1938: Munich 1170. Footnote 1939: Munich 1223. Footnote 1940: B.M. E 771. Footnote 1941: In South Kensington Museum. CHAPTER XVI _DETAILS OF TYPES, ARRANGEMENT, AND ORNAMENTATION_ Distinctions of types—Costume and attributes of individual deities—Personifications—Heroes—Monsters—Personages in every-day life—Armour and shield-devices—Dress and ornaments—Physiognomical expression on vases—Landscape and architecture—Arrangement of subjects—Ornamental patterns—Maeander, circles, and other geometrical patterns—Floral patterns—Lotos and palmettes—Treatment of ornamentation in different fabrics. It may be profitable to supplement the foregoing account with a few general considerations, such as the attributes, emblems, and costume by which the different figures may be distinguished, the general treatment of the subjects at different periods, and the use of ornamental motives in the various stages of Greek vase-painting.