The following is a list of the vases with interesting kalos-names in the Third Vase Room. (Compare above, p. 212.)

For a full list of the kalos-names in the British Museum collection (to 1896), see Catalogue of Vases, Vol. III. (by C. H. Smith), p. 29.

The red-figure vases in this room, which, speaking generally, cover the fifth century B.C. and the last years of the sixth century, may be divided into groups according to the painters :--

(1.) The early red-figure masters, commonly called, after one of their number, the group of Epictetos. These painters developed the new technique towards the close of the sixth century, but, artistically, they retained a part of the stiff mannerisms of the black-figure style. The group consists partly of masters known to have worked in both styles, either in combination on the same vase or separately, and partly of artists closely connected with the foregoing, though not working in the two styles. Among the known masters who worked in both styles* the Museum collection possesses vases by Epictetos with Hischylos, Nicosthenes and Pamphaios.

Namely, Andokides, Chelis, Epictetos, Epilykos, Hischylos, Nicosthenes, Pamphaios. Thypheithides must be struck off the list, since the handles with the name do not belong to the kylix E 4.

Epictetos is here represented by the kylix E 3, on which the two styles are combined, and on which the names of Epictetos as painter and Hischylos as potter occur together. He is also represented by seven other vases. In the kylix E 38, with the story of Heracles and Busiris, he is seen at his latest and best, as a master trained in the archaic school, but also as influenced in the drawing of such a figure as the recumbent and foreshortened banqueter by the work of younger contemporaries, such as Duris.

Nicosthenes, whose character was described above (p. 215), worked in the red-figure style, but no examples are in the Museum collections.

Of Pamphaios alone we have separate works in the two styles, namely, the black-figure hydria described above (p. 221), and six red-figure vases. The finest which bears his name is the kylix E 12 (see p. 233), which is remarkable for its fine drawing and tender sentiment.

Chachrylion is the most important member of this group working in the red-figure style only. His manner is akin to that of Epictetos, but in one vase at Munich his name appears in company with that of Euphronios.

(2.) The great masters of the early red-figure style, who have been called the group of Euphronios. The work of these masters is more free and unfettered than that of the last group, and includes the best examples of fine and severe drawing. The artists whose works are represented in the Museum who may be grouped with Euphronios are Duris, Hieron and Brygos. These artists were probably in full activity at the time of the Persian wars. Euphronios himself is placed between 500 and 450 B.C. tioned above, his name occurs on one vase with that of Chachrylion, and he is thus associated with the older group. In such matters as the treatment of the eye seen in profile his work is still archaic. But within the limits of his art he is pre-eminent among the early vase painters for the masterly precision and fineness of his drawing.

As men

Duris (signature ▲OPIE, i.e. Aoûpis) is known to us by a considerable number of extant works. He is an artist of transition. In part his designs follow established tradition, and in part he is an innovator expressing new incidents and motives, observed from life, and making new experiments in foreshortening, in front views of the face, and in novel compositions.

Hieron. The name of Hieron only occurs with the formula Eоingev, 'made,' and it is therefore uncertain whether he can be classed as a painter. Some writers have attributed all the vases with this signature to Makron, whose name appears, as that of a painter, on one of them. The vases that bear the name of Hieron are in many instances painted with love scenes. In a few (such as E 140) mythological subjects are worked out with poetic fancy, and infinite care in the accessory details.

Brygos also signs with onorev only, but as no painter's name occurs coupled with his, he is assumed to be an artist. He is noted

for vivid dramatic narratives and bold action in his painting. The fine kylix E 65, with Satyrs attacking Iris and Hera, appears to be the latest and most advanced of his works.

(3.) The later Attic masters (best represented in the Museum by Meidias, Pedestal 4) draw with yet greater freedom, but thereby lose the severe restraint that marks the vases of Euphronios and his fellows. In the art of Meidias, the drawing of the eye seen in profile, and of the three-quarter face, has been fully mastered. The draperies are expressed by richly composed lines, in contrast to the rather meagre conventions of older drapery. There are also rich accessory ornaments on the draperies, and incised lines in the field suggestive of landscape. But at the same time there is a decline in the interest of the subject represented. Mythological subjects are treated more loosely, with less regard for the strict traditional types, vague personifications are introduced, and scenes from daily life become more numerous.

White Athenian Vases. This room also contains the interesting and attractive series of Athenian vases painted in outline on white ground (Table-case F, Standard-case C, Wall-cases 41, 42). From early times, and more particularly at Rhodes and Naucratis, attempts had been made to avoid the limitations of the black-figure style by drawing parts of the figure in outline only, leaving its surface of the ground colour of the vase. This method was practised at Athens by several masters of the fine style (see the vases described below), but more especially in connexion with the White Athenian Lekythi (Table-case F). These are a group of vases made for the purpose of offerings at the tombs. Aristophanes (Eccl. 996) speaks of the painter who paints the lekythi with figures for the dead.' The subjects are usually connected with death and the tomb, and we often have a view of the tomb, with the vases themselves grouped about it. The designs are drawn in outline on the prepared white ground of the vase, the draperies being occasionally filled in with red, brown, green, or blue colour. The white vases are often very delicately drawn. They are marked as a rule by the same sentiment of placid and gentle melancholy which is characteristic of the Athenian sepulchral reliefs, and, like the Greek reliefs, if examined in considerable numbers, they show a lack of variety in subject and treatment.

The white sepulchral lekythi are contemporary with the Attic red-figure vases, and may be assigned generally to the fifth century B.C. Vases painted in the same manner, for use in other ways, are of less frequent occurrence, but some fine examples are shown on and near Table-case F (see p. 238).

The best vases of the transition and early period are placed in the table-cases, with which therefore we begin our detailed description.

Table-case A. Cups (kylikes) of the period of transition from the black-figure style, partly signed by painters of the group of