[1029]. In some specimens Ionian influence seems to manifest itself: cf. for instance the Ionic palmette in Ath. Mitth. 1897, p. 279. Studniczka notes that the purely monochrome outline drawing of the Aegina vases is like that ascribed by Pliny to the early Corinthian painters (Ath. Mitth. 1899, p. 376).
[1030]. Plate [XVII]. fig. 3 = A 1050 = J.H.S. xi. pls. 1, 2: cf. also ibid. p. 179.
[1031]. Mélanges Perrot, pl. 4, p. 269, and see p. 271, note 2; Rev. Arch. xxxii. (1898), p. 213.
[1032]. Amer. Journ. of Arch. 1900, pls. 4–6, p. 441.
[1033]. Ant. Denkm. ii. pls. 44–5.
[1034]. So called from the imitation of overlapping roof-tiles (imbrices).
[1035]. E.g. B.M. A 193, 223; Louvre A 275.
[1036]. E.g. Louvre, Atlas, pl. 40, E 347.
[1037]. Mon. Antichi, iv. p. 271 ff.; Böhlau, Ion. u. ital. Nekrop. p. 91.