On a Late Geometric krater from Argos (Fig. 3.0), two panels with lines of female dancers appear above a band of birds, likewise arranged in a linear and collective formation. Even as the birds’ design follows the conventions regularly used for portraying avians in Geometric art, their bent limbs simultaneously mirror the legs peeking out from the skirts of each dancer above, suggesting relations of equivalence between the flock and choral group, whose members also move from left to right around the body of the bowl. Among the abstract shapes used to depict the birds are the wavy lines that recur in the zigzag decorative motifs in the adjacent bands and panels. As stylized representations of bodies of water, these elements both position the choruses in the verdant landscape that, as noted in Chapter 2, typically supplies the backdrop for maiden dancers in the archaic visual and textual accounts and cohere with the artist’s portrayal of the birds: as their iconography makes clear, these are water birds, the ornithological species with whom our sources (as examples cited in this chapter illustrate) most regularly associate choral performers.