brown-black slip was then added. Inscriptions were often incised rather than painted on. The figures lack the three-dimensionality of their Attic models. Further, there is no true development of Boeotian red-figure, it merely attempts to copy Athenian forms of expression. The most important artists were the Painter of the Judgement of Paris (following especially the examples of Polygnotos and the Lykaon Painter), the Painter of the Athens Argos Cup (resembling the Shuvalov Painter and the Marlay Painter), as well as the Painter of the Great Athens Kantharos. The later is stylistically so close to the Attic Dinos Painter that it has been suggested he may have been taught by him. Bibliography Thomas Mannack: Griechische Vasenmalerei. Eine Einführung. Theiss, Stuttgart 2002, p. 128f., 158f. . Gerald P. Schaus: Geometrische Vasenmalerei, In: Der Neue Pauly Vol. 4 (1998), Col. 935-938 Johannes Schwind: Orientalisierende Vasenmalerei, In: Der Neue Pauly Vol. 9 (2000), Col. 23-26 Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch, In: Der Neue Pauly Vol. 11 (2001), Col. 276-281 References Ancient Greek vase-painting styles Ancient Boeotia