way that modern scholarship does, there were some connections and mutual influences, perhaps in an atmosphere of friendly competition and encouragement. Thus a vase by Euthymides is inscribed "as Euphronios never [would have been able]". More generally, the pioneer group tended to use inscriptions. The labelling of mythological figures or the addition of Kalos inscriptions are the rule rather than the exception. Apart from the vase painters, some bowl painters also used the new style. These include Oltos and Epiktetos. Many of their works were bilingual, often using red-figure only on the interior of the bowl. Late Archaic The generation of artists after the pioneers, active during the Late Archaic period (circa 500 to 470 BCE) brought the style to a new flourish. During this time, black-figure vases failed to reach the same quality and were pushed out of the market eventually. Some of the most famous Attic vase painters belong to this generation. They include the Berlin Painter, the Kleophrades Painter, and among the bowl painters Onesimos, Douris, Makron and the Brygos Painter. The improvement of quality went along with a doubling of output during this period. Athens became the dominant producer of fine pottery in the Mediterranean world, overshadowing nearly all other production centers. One of the key features of this most successful Attic vase painting style is the mastery of perspective foreshortening, allowing a much more naturalistic depiction of figures and actions. Another characteristic is the drastic reduction of figures per vessel, of anatomic details, and of ornamental decorations. In contrast, the repertoire of depicted scenes was increased. For example, the myths surrounding Theseus became very popular at this time. New or modified vase shapes were frequently employed, including the Nolan amphora (see Typology of Greek Vase Shapes), lekythoi, as well as bowls of the askos and dinos types. The specialisation into separate vase and bowl painters increased. Early and High Classical The key characteristic of Early Classical figures is that they are often stockier and less dynamic than their predecessors. As a result, the depictions gained seriousness, even pathos. The folds of garments were depicted less linearly, appearing more plastic. The manner of presenting scenes also changed substantially. Firstly, the paintings ceased to focus on the moment of a particular event, but rather, with dramatic tension, showed the situation immediately before the action, implying and contextualising the event proper. Also, some of the other new achievements