The ornamental patterns on R.F. vases do not, generally speaking, call for so much attention as those of earlier style; they are on the whole used with great restraint and little variety, and are more subordinate to the designs than at any other period of vase-painting. The principal motives are the palmette, maeander, and egg-pattern; all others are comparatively rare. It is interesting to note, on the early amphorae and hydriae, and on the column-handled kraters down to quite a late date, the survival of the old panel system with its borders of ornament. Strictly speaking, now that the background was black throughout, there was no necessity for enclosing the space on which the figures were depicted; but the conservative instincts prevailed, especially while the old shapes were retained.[[1294]] Gradually, however, as these vases assumed new forms, the borders were almost unconsciously dropped—first the sides, then the top, and lastly the lower border, which maintained its ground longer than the others. The same tendency, from a formal framework to absolute freedom, is in fact to be observed in all the vases; and in the later stages we note a new development, that of an elaborate pattern of palmettes under the handles, which assumes more and more prominence.
The evolution of the palmette on R.F. vases has been skilfully traced by Dr. Winter[[1295]] in reference to the kylikes; but it is no less interesting in the amphorae and similar forms. In both cases it arose from the tendency to make the handles terminate in stylised palmettes, which on the B.F. kylikes of the minor artists are often a prominent element in the decoration. Similarly, on the B.F. red-bodied amphorae we have the symmetrical compositions of palmettes under the handles radiating from a common centre. These were at first reduced to a modest single palmette or a pair, but soon spread out again, preserving at first the symmetrical grouping; subsequently, with an increasing tendency to naturalism, the palmettes, enclosed within graceful tendrils, form unsymmetrical but highly pleasing compositions without any definite centre.[[1296]] This development of ornament under the handles—to which part of the vase it was almost restricted—can be traced during the first half of the fifth century, till it reaches its height about the middle. Where a band of ornament was required round the base of the design, as on the large calyx-kraters, it takes the form of a row of palmettes enclosed in tendrils, in the style of modern arabesques; or the palmettes are arranged in pairs, set obliquely, and each pair divided by a scroll ending in volutes. Or, again, a row of somewhat squat palmettes, similarly enclosed, alternates with lotos-flowers in the old style, as on B.M. E 169.[[1297]]
FIG. 100. PALMETTES UNDER HANDLES (EARLY R.F. PERIOD).
In the kylikes the development of the handle-ornament first begins with Epiktetos, who (as on E 3 in B.M.) first draws a free palmette with separated leaves on either side.[[1298]] As the tendency to cover the whole of the exterior space with the design increased, the intervening space under the handle came to be filled in also, by extending the tendrils of the palmettes and terminating them with buds (Fig. [100]).[[1299]] Next, a tendency to symmetrical composition each side is seen, the palmettes being doubled in number[[1300]]; or, again, an attempt is made at uniting the two isolated palmette-systems in one harmonious whole, and at the same time to fill the intervening space, by means of interlacing tendrils.[[1301]] The palmettes are further increased to three or four each side, and in the arrangement is seen the tendency to freedom even at the cost of symmetry already noted, as in Fig. [101].[[1302]] Thus is reached the point at which the severe passes into the strong style. In the latter the palmettes are often omitted altogether,[[1303]] especially where the two exterior scenes are connected; or their place is taken by some figure under the handle, as on vases by Hieron or Brygos. Where the patterns do occur, they are often stereotyped, as in the vases of Duris, who on nine examples with handle-patterns repeats the same device in each case. In the fine style, after 460 B.C., the symmetrical arrangement recurs, the usual type consisting of a double palmette between two large ones, with connecting and enclosing tendrils.
FIG. 101. PALMETTES UNDER HANDLES (LATER STAGE).
Another method of tracing the chronological sequence of the R.F. cups is by means of the maeander patterns which surround the interior design and extend below the outside scenes (Fig. [102]).[[1304]] A parallel development of this pattern may also be traced on the amphorae and other vases, where it is used as a border below the figures. In the severe style, as in the cups of Epiktetos, this pattern has not yet made its appearance, and its place is taken by a simple line of red; and in the vases of Euphronios, on which it is first found, a simple maeander is employed. The first to vary this was Duris, who alternates it with squares, the centre of which is “voided” in the form of a red cross, and this practice subsequently became invariable. The square itself shows a development of form, the cross being first filled in with a black centre, then made diagonal; next, the black background is largely diminished, until it disappears, except for dots between the arms of the black cross; finally, it changes into the form of a chequered square, black and red, of which the red squares are sometimes dotted.
The subjects on red-figured vases may not perhaps be so varied or so full of mythological interest as those on the black-figured, but yet present many features worthy of attention. At the very outset we see the tendency towards scenes from real life in preference to those from mythology; and on the whole throughout the period the ratio of one class to the other is exactly the reverse of the preceding period. Nor are the stock subjects in either class the same. In regard to mythology the cosmogonic themes of B.F. vases, such as the Gigantomachia and the Birth of Athena, are replaced by such subjects as Eleusinian and Attic local cults, the sending forth of Triptolemos or the birth of Erichthonios. In the heroic cycles Herakles is no longer the popular favourite, but is supplanted, for reasons presently to be detailed, by Theseus. The Argonautika frequently provides subjects for vases of the more developed style, in which the influence of Polygnotos is felt; and the Odyssey begins to rival the Iliad as a source of epic themes. The influence of the stage is as yet hardly felt, though here and there scenes may be traced to the influence of some Satyric drama.
