by extensive use of black varnish, with the Middle Geometrical (approx. 850–770 BC), figurative decoration makes its appearance: they are initially identical bands of animals such as horses, stags, goats, geese, etc. which alternate with the geometrical bands. In parallel, the decoration becomes complicated and becomes increasingly ornate; the painter feels reluctant to leave empty spaces and fills them with meanders or swastikas. This phase is named horror vacui (fear of the empty) and will not cease until the end of geometrical period. In the middle of the century there begin to appear human figures, the best known representations of which are those of the vases found in Dipylon, one of the cemeteries of Athens. The fragments of these large funerary vases show mainly processions of chariots or warriors or of the funerary scenes: πρόθεσις / prothesis (exposure and lamentation of dead) or ἐκφορά / (transport of the coffin to the cemetery). The bodies are represented in a geometrical way except for the calves, which are rather protuberant. In the case of soldiers, a shield in form of a diabolo, called “dipylon shield” because of its characteristic drawing, covers the central part of the body. The legs and the necks of the horses, the wheels of the chariots are represented one beside the other without perspective. The hand of this painter, so called in the absence of signature, is the Dipylon Master, could be identified on several pieces, in particular monumental amphorae. At the end of the period there appear representations of mythology, probably at the moment when Homer codifies the traditions of Trojan cycle in the Iliad and the Odyssey. Here however the interpretation constitutes a risk for the modern observer: a confrontation between two warriors can be a Homeric duel or simple combat; a failed boat can represent the shipwreck of Odysseus or any hapless sailor. Lastly, are the local schools that appear in Greece. Production of vases was largely the prerogative of Athens – it is well attested that as in the proto-geometrical period, in Corinth, Boeotia, Argos, Crete and Cyclades, the painters and potters were satisfied to follow the Attic style. From about the 8th century BC on, they created their own styles, Argos specializing in the figurative scenes, Crete remaining attached to a more strict abstraction. Orientalizing style The orientalizing style was the product of cultural ferment in the Aegean and Eastern Mediterranean of the