(3) The panel-amphora, with broad grooved handles (probably a later development) (Plates [XXXI]-[II].).
(4) The red-bodied amphora, distinguished by its straight neck sharply marked off from the shoulder (Plate [XXIX].).
(5) The Panathenaic amphora, with small mouth and foot and widely swelling body (Plates [XXXIII]-[IV].).
(6) The prothesis-amphora, a tall, elongated type, used in connection with funeral ceremonies (see above, p. [159]).
(7) The Nikosthenes type (Plate [XXX].).
The hydria, oinochoe, and krater almost universally adhere to the panel form of decoration, but the lekythos is red-bodied. In none of these is there much change visible, except in the later hydriae, some of which assume the curvilinear form of the R.F. “kalpis” (see p. [166]). The evolution of the kylix is, however, of considerable interest, especially in view of its subsequent importance.
Before the sixth century this form was unknown at Athens, its nearest equivalent being the skyphos, or deep two-handled bowl with low base. But in course of time two forms of the kylix make their appearance, one apparently earlier than the other, and probably derived from a Corinthian prototype. At Corinth the kylix took the form of a large shallow bowl, with bulging outline and flat lip, on a very low foot. This type was also known in Ionia, as at Samos and Naukratis. It was usually decorated with friezes, internal or external, sometimes with a Gorgon’s head in the centre. The Athenians adopted this form, but raised it on a high stem, proportionately reducing its diameter (p. [190]). At the same time they greatly reduced the surface available for decoration, either covering the whole with black varnish, except a narrow red band on the exterior, or else leaving the whole of the exterior red, but confining the figures strictly to the upper part. This became a very favourite fashion, and in course of time a school of painters arose whose practice was either to paint a row of diminutive figures (or even a single figure, as Fig. [96]) on the upper band and sign their names below, or else to leave the cup quite plain except for the signature on one side and a motto on the other, such as χαῖρε, καὶ πίει εὖ, “Hail, and drink deep!”
These artists are known as the minor or miniature painters, and among them are found the names of Archikles and Glaukytes, Eucheiros, Hermogenes, Tleson, and Xenokles. At first they preferred not to decorate the interior, but then a small medallion with a figure of an animal or monster, such as a Sphinx, is introduced. Interior designs, however, were not at any time popular in this style.
The second type of kylix is purely Ionic in origin (see above, p. [357]). It is distinguished from the others by the absence of a lip, by its low, thick foot, and by the greater width and shallowness of the bowl (p. [191]). With a very slight modification it obtains throughout the red-figure period. Its form is clearly derived from the libation-bowl, or phiale, with the addition of foot and handles; and it appears first in Ionia in the large cups ornamented with eyes, the best of which is the Phineus cup in Würzburg (see p. [357]). The Cyrenaic cup (see p. [341]) seems to be half-way between the two types, having a high stem and a very slight marking off of the lip.
The introduction of this form into Attica was apparently due to Exekias, who belongs to the middle of the B.F. period, and has left a very fine specimen, decorated with the Ionic eyes and a beautiful interior design of Dionysos sailing over the sea (see p. [381]). They are invariably red-bodied externally, and, in contradistinction to the other form, decorated all over, inside and out. Some of the larger varieties have an inner frieze surrounding the medallion[[1193]]; but in many of the smaller examples the practice is to paint a Gorgon’s face in the interior, leaving the rest black. On the exterior, not only are the Ionic eyes generally to be seen, but also the whole scene is filled in with a background of interlacing branches or foliage—a common characteristic of later B.F. vases, and supposed to be also Ionic in its origin.