Fig. 202 introduces us to the workshop of an artist and a metal founder. In the presence of two men dressed in the himation, leaning on their sticks, two workmen are occupied in chiselling or working over the colossal figure of a warrior, represented in a posture of attack, which is placed under a scaffolding. There is another colossal figure of a naked youth, who has fallen to the ground, and is stretching out his arms as though praying for help. Here the head has not yet been added, for as a rule the ancients composed their large bronze figures in several pieces; the head lies on the ground near the statue, at which a workman is doing something with his hammer, perhaps trying to smooth away roughness produced in the casting. This second figure seems to be connected with the first, and the whole to represent a group of combatants. A little further is the furnace, behind which stands an assistant looking round; a workman crouching on a low stool wears the cap usually worn by labourers with fire, and consequently represented in pictures of Hephaestus; he is stoking the coals in the [Illustration: FIG. 200.] furnace to a fresh glow with a long pole curved at the end, and a second apprentice stands looking at him, leaning on his hammer. On the walls hang a variety of tools--hammers, files, a saw, etc.; also models of feet and heads, and little tablets representing sketches of whole men and animals. No less interesting is the workshop of a vase painter, represented in Fig. 203. Here we see a youth seated in an armchair, with a large two-handled cup on his knee, which he is painting with the brush held in his right hand; near him stands a little low table, on which are several pots containing paints or varnish. Behind him a young apprentice, who also has pots on the ground near him, is painting a large amphora; on the right a second boy and a girl are working at a cup and another amphora, while a jar and a large drinking-cup (κάνθαρος) stand on the ground, and other vessels hang on the wall. Athene, the patroness of the arts, and Nike are hasting to crown the skilful labourers as the reward of industry. It is difficult to determine the kind of work which the magnificent old man in Fig. 204, a terra-cotta figure from Tanagra, is doing; in front of him is a board with which he is occupied, and a little gridiron. Some have pronounced him a baker, others a maker of plaster of Paris tablets, others a tanner; perhaps he might be a cook, seated in the street, and frying some quickly-cooked dish over the gridiron, in order to sell it to the common people, who often procured their food in this way from travelling cooks. Even worse than the position of the artisans was that of the hired workmen, that is, those labourers who, though free citizens, had not learnt any technical art with which they could earn their living, and who were therefore obliged to hire themselves out for [Illustration: FIG. 201.]