This is a hydria of somewhat peculiar, if not unique form, with a very wide body and rudimentary foot. In some details, especially in the treatment of the handles, it exhibits obvious evidence of imitation of metal-work. Although at first sight resembling _bucchero_ ware, the clay is seen on examination to be of a different type, not being grey but reddish brown in fracture, while the lustrous black surface is produced by a thin coating or slip. It is decorated with designs in three colours, red, blue, and a yellowish white, which were laid on the black and then fired. The red is best preserved, the blue fairly so, but the white has almost entirely disappeared.[2284] The designs are arranged in three friezes, of which the lower consists only of isolated bits of key-pattern. On the two upper rows are scenes from the story of Theseus and Ariadne, together with Centaurs, Sphinxes, and other accessory figures. On the upper row Theseus slays the Minotaur; on the lower, Theseus and Ariadne are seen, firstly in a chariot, secondly leading a dance of four other figures, the hero playing a lyre, while Ariadne holds the clue.[2285] The colouring scheme is most elaborate, and cannot be detailed here; an occasional use of incised lines may also be noted. A small two-handled cup or kylix,[2286] of a type often found at Naukratis decorated with eyes, was also found in this tomb, and appears to belong to the same class. The clay is similar to that of the hydria, as is the decoration, which however, owing to the flaking off of the black slip, has largely disappeared. Although in its technique it resembles the hydria, the subjects and motives are probably derived from Naukratis. Only a few other examples of this “Polledrara” ware are known: an oinochoë in Berlin,[2287] two vases in the Louvre,[2288] and a vase found at Cervetri, unpublished.[2289] From the contents of the tomb in which the last-named was found, it may fairly be dated early in the sixth century. Mr. Cecil Smith regards the Polledrara hydria as the result of an Italian attempt to imitate the new _bucchero_ technique which was at this time being perfected (see below), the form of the vase being borrowed from an Ionic source.[2290] Ionic influence (see above, p. 296) is visible in more than one respect in this vase, as also in the reliefs decorating the bronze bust from the same tomb. Other details, such as the imitation of metal-work, are rather to be referred to a Corinthian source; and it is worthy of note that two Corinthian vases were among the contents of the tomb.