Two forms that may be connected with the amphora are the stamnos and the psykter (see pp. [163], [172]). The former is peculiar to the R.F. period in its earlier stages; the first known example is signed by Pamphaios, a “transitional” artist. Most of the known specimens attain a high average of excellence. The psykter or wine-cooler is very rare, but there are two fine examples signed by Euphronios and Duris.
The hydria in this period at first retains the B.F. form, as seen in an example of about 500 B.C. signed by Phintias (B.M. E 159), but the tendency to prefer a curvilinear outline is soon manifested. The new development is conventionally known as a kalpis. The shoulder having ceased to be distinct from the body, the design becomes single, or else is confined to the upper part of the field.
Of the krater we have at least four varieties, all belonging to the more developed stages of the period. The earliest example is the Antaios-krater of Euphronios in the Louvre, about 500 B.C., which is of the form known as vaso a calice (p. [170]); but this and the other varieties never become really common till the final stages are reached. The bell-krater, or vaso a campana, is only found in the late fine period, and is then almost the only kind of large vase made; the volute-handled krater, which was developed from the old column-handled type, is seen in some fine specimens. At first the design (as in the B.F. example by Nikosthenes, B.M. B 364) is confined to the neck. The treatment of the column-handled type is interesting as a survival of archaism both in design and arrangement, with the bordered panels and occasional B.F. friezes of animals.[[1292]]
Among the smaller vases, the oinochoë and lekythos with their varieties, the askos and the pyxis, are the most important. With the exception of the ordinary form of lekythos these belong chiefly to the later stages, when the preference was for a sort of miniature style. Very few of these bear artists' signatures. The oinochoë differs little from the B.F. examples; the pyxis is practically a revival of an old form favoured in the Corinthian and other early fabrics. The latter are usually decorated with domestic or marriage subjects, in reference to their use by women for toilet purposes (see Plates [XLII]., [XLIII].).
The lekythos was, as we shall see, the form exclusively employed for the funeral vases, and largely also for others with polychrome decoration on white ground. Those painted with red figures belong mainly to the strong period (500–460), and have been mostly found in Sicily, whither they were imported by preference, like the amphorae made for Nola; a fine specimen is given on Plate [XXXVI]. When this form came to be adopted for the funeral vases, a new type arose with bulbous or spherical body, conventionally known as an aryballos. In the late fine style we have many examples of this form, with rich polychrome decoration and gilding (Plate [XLII].).[[1293]]
PLATE XXXVI
Red-figured “Nolan” Amphorae and Lekythos (British Museum).