[1059]. See on this subject H. S. Jones in J.H.S. xiv. p. 30 ff.
[1060]. Cf. the Thermon metopes (p. [92]).
[1061]. Arch. Märchen, p. 121: see p. [395] ff.
[1062]. See on the achievements of the early Greek painters as described by Pliny, Jex-Blake and Sellers, Pliny’s Chapters on Greek Art, p. xxviii.
[1063]. But see Ath. Mitth. 1894, p. 510, and J.H.S. xviii. p. 287, note. The other vases classified in the Museum Catalogue as imitations (B 43–6, 49–53) are more probably of Ionic or quasi-Ionic fabric. Athens 655 is in style not unlike B.M. B 42.
[1064]. See Wilisch, Altkor. Thonindustrie, p. 133 ff.
[1065]. Furtwaengler, Gr. Vasenm. p. 161, points out that the Chalcidian fabrics are not like those of Corinth and Athens, exhibiting growth and development, but a small group coming from one workshop.
[1066]. Mon. dell’ Inst. i. 51 = Reinach, i. 82.
[1067]. It is curious that the Chalcidian artists only attempted this novelty in the case of helmeted warriors.
[1068]. A publication by Loeschcke is in preparation (1904). See also Furtwaengler’s remarks on this group (to which he adds some examples) in Gr. Vasenmalerei, p. 161. For the inscriptions see Chapter XVII.