red-figured vases. The most important of the known artists of the older generation is the Inscription Painter, of the younger representatives the Phineus Painter. The former is presumably the originator of the style; some 170 of the surviving vases are attributed to the very productive workshop of the latter. He is probably also the last representative of this style. The images are usually more decorative than narrative. Riders, animal friezes, heraldic pictures or groups of people are shown. A large lotus-palmette cross is frequently part of the picture. Mythological scenes are seldom, but when they occur they are in general of exceptionally high quality. Pseudo-Chalcidian vase painting is the successor to Chalcidian painting. It is close to Chalcidian but also has strong links to Attic and Corinthian vase painting. Thus the artists used the Ionian rather than the Chalcidian alphabet for inscriptions. The structure of the clay is also different. There are about 70 known vases of this type, which were first classified by Andreas Rumpf. It is possible that the artisans were successors to the Chalcidian vase painters and potters who emigrated to Etruria. Pseudo-Chalcidian vase painting is classified into two groups. The elder of the two is the Polyphemus Group, which produced most of the surviving vessels, primarily neck amphoras and oinochoes. Groups of animals are usually shown, less seldom mythological scenes. The vessels were found in Etruria, on Sicily, in Marsellle and Vix. The younger and less productive Memnon Group, to which 12 vases are currently attributed, had a much smaller geographical distribution, being limited to Etruria and Sicily. Except for one oinochoe they produced only neck amphoras, which were usually decorated with animals and riders. Other The vases of the Northampton Group were all small neck amphoras with the exception of a single belly amphora. They are stylistically very similar to northern Ionian vase painting, but were probably produced in Italy rather than in Ionia, perhaps in Etruria around 540 BC. The vases of this group are of very high quality. They show rich ornamental decorations and scenes that have captured the interest of scholars, such as a prince with horses and someone riding on a crane. They are similar to the work of the Group of Campana Dinoi and to the so-called Northampton Amphora whose clay is similar to that of Caeretan hydriai. The Northampton Group was named after this amphora. The round Campana hydriai