ral method of painting remains that of the Athenian red-figure
vases, but with entire loss of simplicity or refinement, either in the
ornamentation, the choice of colours, or the drawing of the figures.
Large masses of white are invariably employed, especially for the flesh
of women or of Eros, the universally present god of Love, and for
architectural details. Yellow is introduced for details of hair or
features, and in attempts at shading, nor is a dull iron-purple
uncommon. The reverses of the vases, when they have subjects, are devoid
of all accessory colouring, and the figures are drawn with the greatest
carelessness, as if not intended to be seen. There is throughout a
lavish use of ornamental patterns such as palmettes, wreaths of leaves,
or ornaments strewn over the field (a reversion to an old practice).

[Illustration: FIG. 32.--"Nolan" amphora by Euxitheus (c. 450 B.C.),
figure of Briseis; the other side has Achilles.]

The drawing, having now become entirely free, errs in the opposite
extreme; the forms are soft and the male figures often effeminate. The
fanciful and richly-embroidered draperies of the figures and the
frequent architectural settings seem to indicate that theatrical
representations exercised much influence on the vase-painters. The great
painters of the 4th century may also have contributed their share of
inspiration, but rather perhaps in the subjects chosen than in regard to
style; though the effect of many scenes on the larger vases is decidedly
pictorial, they are chiefly remarkable for their emotional and dramatic
themes.

The influence of the stage is twofold, for tragedy as well as comedy
plays its part. Many subjects are taken directly, others indirectly,
from the plays of Euripides, such as the _Medea_, _Hecuba_ (Plate II.
fig. 60), or _Hercules Furens_, and the arrangement of the scenes is
essentially theatrical. The influence of comedy is seen in subjects
derived from the _phlyakes_, a kind of farce or burlesque popular in
southern Italy, and here again the setting is adapted from the stage,
some vases having parodies of myths, others comic scenes of daily life.

Many vases of this period, especially those of large size, were
expressly designed for funeral purposes. Some of these bear
representations of the underworld, with groups of figures undergoing
punishment. On others shrines or tombs are depicted--sometimes
containing effigies of the deceased, at which the relatives make