THE personality of the individual artist must also be taken into account in this analysis of the differences between schools. Texts, and their own signatures, have often given us their names. Sometimes the pride of the creative artist is naïvely shown: "Alxenor the Naxian made it; behold it!" ( 6th- century stele).2 They rivalled one another in skill, and Euthymides, the vase-painter, proclaims of his own work that Euphronius never did anything better (first quarter of the 5th century).3
In the 6th century there are plenty of names--need we recall the Chios family comprising Micciades, Archermus, Bupalus and Athenis,4 and others as well? We cannot deny them their originality. But it is to be found mainly in the application of some new technical process or in the happy choice of a motif. Archermus of Chios invents the type of the winged Victory, or, rather, adapts an old Oriental theme to the goddess; Glaucus of Chios, according to the Ancients, invented iron soldering; Rhœcus and Theodorus of Samos introduced from Egypt hollow bronze-casting. They perfected the effects sought by their predecessors, working out in closer detail the study of drapery and anatomy, and Cimon of Cleonæ was better at rendering folds, transparent drapery, and foreshortening than those who had gone before him.
But individual style had not yet asserted itself. Their work pre-eminently reflected the studio tradition, showing the family likeness it bore to the work of the local or national school, and no individual talent stands out from the uniformity of the mass.
The individual artist's personality grew in stature in the 5th century, whether in painting, sculpture or pottery; obvious differences in style and execution now correspond____________________