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The Middle Minoan period, a pure and richly-developed bronze civilization, is the height of polychromy: the clay is finely cleansed, the black glaze is at its very best, red in different shades occurs besides white. A transition leads to the brilliant period of the Kamares style, named after the first discoveries in the Kamares cave on Mt. Ida. The ‘Mycenean technique’ occurs not infrequently alongside of the polychrome; but as it often edges the ornaments with incised lines or puts white spots on them, it does not reject the tendency to richer effect, which is a feature of the age and is also expressed in the relief-like ornamentation of many vases (Barbotine). The ornamentation is still very fond of linear patterns, and also develops the spiral still further, and lays the foundation of the numerous decorative motives which characterize the later periods; living creatures also (birds, fishes, quadrupeds) are represented in painting. The motive of drops falling from the brush, which would be inconceivable in Greek vase-painting proper, occurs already. There is a simultaneous use of decoration in bands, and without division; the emphasizing of the shoulder by ornamentation is found in contrast with the lower part decorated, if at all, with stripes (Figs. ssss1 and ssss1). The stock of forms increases, and the imitation of metal-work is often unmistakeable.