If Euphronios thus surpassed himself one may believe him also responsible for the next step, the ‘Panaitios’ stage, to which it is a very short distance from the Athenodotos kylikes. To the transition, that is about the end of the 6th century, belongs the Paris Theseus kylix, signed by Euphronios as potter but without love-name. The boldly drawn exterior seems to form the bridge to the style of the ‘Panaitios’ master, that vigorous painter, perhaps identical with the later Euphronios, from whose hand comes the London Panaitios kylix with the signature of Euphronios as potter. The rich and ornamental interior (Frontispiece) is in a certain contrast with the exterior scenes, and is so closely connected with the early works of Duris, that we may enquire, whether Euphronios did not entrust the decoration of the interior to a talented pupil with a great tendency to elaboration. But perhaps this contrast is due only to the representative seriousness of the subject. Young Theseus, in order to receive his rightful position as son of Poseidon, has gone down to the bottom of the sea, and in the presence of Athena is greeted by Amphitrite.
The time of Panaitios and that of Chairestratos, which partly coincides with it, remove many hard features of the Leagros stage. The turnings of bodies lose all violence: in the frontal stand of both feet, and in the oblique view of
PLATE LXIX.
[Fig. 116]. AFTER THE BANQUET: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER BRYGOS.
PLATE LXX.
[Fig. 117]. A MAENAD IN FRENZY: FROM AN ARCHAIC RED-FIGURED POINTED AMPHORA.