Antiquorum. All major collections worldwide are published in this series, which as of 2009 amounted to over 300 volumes. Scientific research on Attic vase painting owes a great deal to John D. Beazley. He began studying these vases in about 1910, making use of the method developed by the art historian Giovanni Morelli for studying paintings, which had been refined by Bernard Berenson. He assumed that each painter created original works which could always be unmistakably attributed. He made use of particular details such as faces, fingers, arms, legs, knees, and folds of clothing. Beazley studied 65,000 vases and fragments, of which 20,000 were black-figure. In the course of his studies, which lasted almost six decades, he could attribute 17,000 of them by name or by using a system of pragmatic names, and classified them into groups of painters or workshops, relationships and stylistic affinity. He identified over 1,500 potters and painters. No other archaeologist had such a decisive influence on the research of an archaeological field as did Beazley, whose analyses remain valid to a large extent up to the present time. After Beazley, scholars like John Boardman, Erika Simon and Dietrich von Bothmer investigated black-figure Attic vases. Basic research on Corinthian pottery was accomplished by Humfry Payne, who in the 1930s made a first stylistic classification which is, in essence, being used up to the present time. He classified the vases according to shape, type of decoration and image subjects, and only afterward did he make distinctions as to painters and workshops. He followed Beazley's method except for attributing less importance to allocating painters and groups since a chronological framework was more important for him. Jack L. Benson took on this allocation task in 1953 and distinguished 109 painters and groups. Last of all, Darrell A. Amyx summarized the research up to that point in his 1988 book Corinthian Vase-Painting of the Archaic Period. It is however a matter of scholarly dispute whether it is at all possible in the case of Corinthian pottery to attribute specific painters. Laconian pottery was known since the 19th century from a significant number of vases from Etruscan graves. At first they were erroneously attributed, being considered for a long time to be a product of Cyrene, where some of the earliest pieces were also found. Thanks to British excavations carried out in Sparta's Sanctuary of Artemis Orthia, their true origin was