INTRODUCTION. 35

fragments of kclebae have been found at Naucratis with designs on the tops of
the handles, like those of B 45, (cf. B 102.,,). The fact, however, that the vase
B 42 was found at Nola is unfavourable to this attribution ; and since the
representation of Hephaestos' return, as seen on the obverse of B 42, was
mainly an Attic idea (cf. Paus. i. 20, 3, and the Francois vase), it would seem
that the Corinthian style in this case must have been imitated, if at all, by
an Athenian artist. This particular subject does indeed occur on a Caeretan
hydria {Vienna Cat. 218), but not in its Attic form as here.

The fourth vase of this group we are now considering has the usual red
ground, and is of Athenian technique, though the shape and secondary
ornamentation are Corinthian. And thus it would seem to be an open ques-
tion whether these are Attic imitations of the Corinthian style, or Corinthian
vases manufactured under Athenian influence (see below, and Dumont and
Chaplain, p. 254, note 4).

The second group, B 46-53, consists of vases apparently of Athenian
manufacture, with the usual red-ground technique. B 46 may be compared with
the late or imitative Corinthian kelebe representing the banquet of Eurytos
and Heracles, Mm. dell' Inst. vi. 32. The next two, B 47-8, have been fully
discussed by Holwerda in the Jahrbuch for 1890, p. 2370". Though they are
lot actually similar in technique, there seems good reason for accepting his view
that they are both Attic imitations. The shape is that of the so-called Tyr-
rhenian amphorae. B 48 bears inscriptions in early Attic characters, mostly
unintelligible ; friezes of animals are common on both. The Berlin vase with
the birth of Athene (Cat. 1704) appears to belong to this class. B 49 is a
vase with no special characteristics, but probably Attic. The next four are
forerunners of the Corintho-Attic or 'affected' style as illustrated in B 148-153,
and later in the vases of Amasis and Exekias ; also in a bronze cuirass found
at Olympia (Murray, Handbook of Greek Archaeology, p. 122). While free from
the mannerisms and stiff drawing of the later vases, they show the characteristic
'ate Corinthian rosette of white dots with purple centre. B 53 has the typical
shape of the Corinthian olpe. Compare, for this group, Loeschcke in Arch. Zcit.
l87<5, p. 108 ff.

It has already been said that the Corinthian style, while it exercised so

'ong an influence on the early Athenian vase-painters, was at the same time

itself indebted to Athens to some extent for its further development. For

xample, we find that particular shapes of vases which had been common in

ne old Athenian Geometrical style, now reappear in the Corinthian, more

especially in the amphorae and oinochoae which are covered with a black

glaze and have a small panel for the design, as B 19, B 23-4, and perhaps

also B 44. Cf. Furtwaengler in Athcn. Mitthcil. vi. (1SS1), p. no.

It was moreover at the time of contact with Athens that the practice grew

UP of distinguishing female figures by means of white pigment, and Pliny may

lerefore be right in saying that the innovation of Eumaros {marem a femina

tscernere) came from Athens (N. II. xxxv. 56). On this question, and on the

D 2