<P> The next step in research was scientific cataloging of the major vase collections in museums . In 1854 Otto Jahn published the vases in the Munich State Collection of Antiquities . Previously, catalogs of the Vatican museums (1842) and the British Museum (1851) had been published . The description of the vase collection in the Berlin Collection of Classical Antiquities, put together in 1885 by Adolf Furtwängler, was especially influential . Furtwängler was the first to classify the vessels by region of artistic origin, technology, style, shape, and painting stye, which had a lasting effect on subsequent research . In 1893 Paul Hartwig attempted in his book Meisterschalen to identify various painters based on kalos inscriptions, signatures and style analyses . Edmond Pottier, curator at the Louvre, initiated in 1919 the Corpus Vasorum Antiquorum . All major collections worldwide are published in this series, which as of 2009 amounted to over 300 volumes . </P> <P> 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 . </P> <P> 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 . </P> <P> 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 quickly identified . In 1934, Arthur Lane put together all the known material and was the first archaeologist to identify different artists . In 1956 the new discoveries were studied by Brian B. Shefton . He reduced the number of distinct painters by half . In 1958 and 1959 other new material from Taranto was published . A significant number of other vases were also found on Samos . Conrad Michael Stibbe studied anew all 360 vases known to him and published his findings in 1972 . He identified five major and three minor painters . </P>

In ancient black-figure greek pottery which of the following is true