[1250]. Cf. B.M. B 693.
[1251]. Six, op. cit. pl. 29, fig. 9.
[1252]. His chief source was Xenokrates of Sikyon, about 280 B.C.: see Jex-Blake and Sellers, Pliny’s Chapters on Greek Art, p. xxviii; Münzer in Hermes, xxx. (1895), p. 499 ff.; id., Beitr. zur Quellenkritik der Naturgeschichte des Plinius (1897).
[1253]. H.N. xxxv. 15: see ibid. 56.
[1254]. Probably an inhabitant of Naukratis, and connected with the Ionian school of painting. See Smith, Dict. Antiqs.3 ii. p. 401; Pottier, Louvre Cat. ii. p. 582.
[1255]. As opposed to mere silhouettes, e.g. of the Dipylon vases. Some writers take the words (spargentes lineas intus) to refer to ground-ornaments (see above, p. [312]).
[1256]. On the possible connection of Ekphantos with Melos, see above, p. 312. Studniczka’s argument rests partly on the early use of red on the Melian vases. In reference to the use of the word γρόφων in the Melian inscription, he thinks that the column supported a votive painted pinax or vase. For testa trita see Blümner, Technologie, iv. p. 478 ff.
[1257]. The earliest vase-painting with this subject is one from Athens (Ἐφ. Ἀρχ.) 1886, pl. 8, fig. 1). See Jahrbuch, 1887, p. 153.
[1258]. See Jex-Blake and Sellers, op. cit. p. xxix.
[1259]. These artists represent the Dorian and Continental school, as opposed to the polychrome Ionian (see Pottier, Louvre Cat. ii. p. 584).