Yet this divergence is probably to be explained as due to carelessness or a whim on the part of the draftsman instead of to an essential difference in material. This appears plainly from a study of the other vases in this series, on which the loin-bands resemble the trunks of the last-mentioned choreutes on the Naples crater rather than the skins of his nine companions. None the less, a multitude of short dashes on the waistbands in one of the Bonn dinoi (Fig. 7) is plainly intended to characterize them as skins, and the bands on the Deepdene craters are “patterned in such a way as to suggest a fringed or shaggy edge.” An illuminating side light upon the freedom which the painter exercised is afforded by a comparison of the left-hand choreutae in Figs. 6 and 7. These are identical figures in different copies of the same original; yet the shagginess of the loin-band is clearly indicated in the one and entirely omitted in the other. Moreover, the choreutes on the other dinos at Bonn seems to wear no waistband at all![65] In conclusion, it will be observed that, except for variations in the representation of the conventionalized goatskin, the choreutae upon all these vases are exactly alike:[66] they all have human feet, no horns, and equine tails. It is evident that by 400 B.C. or a little earlier this type had become standardized for theatrical purposes. That it suffered no material modification thereafter appears from a Pompeian mosaic (Fig. 8).[67] [Illustration: FIG. 8.—Poet and Choreutae of a Satyric Drama from a Pompeian Mosaic See p. 27, n. 3]