In summing up the characteristics of the cups of severe style, we note that they exhibit throughout a development in technique and decoration rather than in style and drawing. The earliest are little removed from the later B.F. kylikes with interior designs and large eyes on the exterior, many having in fact B.F. interiors. With the eyes occupying so much space, it is rare at first to find anything like a composition on the exterior; but gradually the eyes disappear, the palmette ornaments (see p. [414]) decrease in size, and the figures extend themselves into friezes, with definite action. We have scenes of combat with a marked centre, like a sculptured pediment, group of athletes or revellers, and mythological or heroic subjects from the stories of Herakles, Theseus, and Troy.
In the interiors the development is somewhat different. Beginning with a simple design of a simple figure within a plain circle—at first an enforced necessity, but subsequently due to choice—the tendency is to fill in the space more and more as the power of drawing develops, and the painter casts about for new ideas. Hence, as Klein[[1327]] says, “Here we have carrying, lifting, hurrying, running, stooping, dancing, springing ... and all for the sole purpose of obtaining those movements of the human body which the space of the vase demanded.” We also note the almost entire absence of mythological scenes in the interiors; repose or simple action is all that is aimed at, whereas on the exteriors scenes of activity or even violence are admitted.
Murray[[1328]] has pointed out some interesting parallels between the kylix-interiors and contemporary coins and gems, which show the vase-painter to have been in full accord with the spirit of the times. Thus, to take the coins first, the Sphinx of Chios is repeated on the B.M. vase E 10, the armed warrior of Aspendos on E 11, the Diskobolos of Kos on E 78, and the squatting Satyr of Naxos on a vase formerly in the Bourguignon collection.[[1329]] Among fifth-century gems we find such subjects as a youth kneeling and holding a jug, a woman at a washing-basin, a Satyr with wine-skin, a youth fastening his sandal, and an archer[[1330]]—all of which occur on the interior of R.F. kylikes. The beautiful subject of the body of Memnon borne by two genii (see above), although an exterior subject, may also be mentioned here as paralleled in a fine gem.[[1331]]
In Klein’s valuable monograph on early R.F. cup-painting there is a useful table[[1332]] setting forth the development of the Epictetan cycle of cups, both in subject and arrangement. His first class includes the purely B.F. cups of Nikosthenes and Pamphaios, with the Gorgoneion in the interior and large eyes on the exterior, which form the prelude to the R.F. series. In the next stage a B.F. subject, such as a warrior, horseman, or deer, takes the place of the Gorgoneion; the exteriors are R.F., but the eyes are retained, allowing only of a single figure each side. Three of these are painted by Epiktetos, others by Pamphaios and Chelis. The third stage has only R.F. interiors, the exterior preserving the same character; instances may be found among the works of Chelis and Pheidippos. Finally, there is a long series of nearly eighty cups and plates, many of the former with interior designs only, in which the eyes are finally dropped, and the exterior subjects are developed into regular friezes, being often mythological. These include the majority of the works of Epiktetos, Pamphaios, and Chachrylion, the latter of whom marks the transition to the next stage.
Turning now to the works of other artists in this period, and passing over Andokides, whom we have already discussed (p. [386]), we find that Euthymides is the most conspicuous name after those of the cup-painters.[[1333]] Strictly speaking, he does not belong exclusively to the severe period, at least in point of date, though his style is comparatively behindhand; as we shall see, he was partly contemporary with Euphronios. His style is curiously similar to that of Phintias, as is shown by the fact that the same unsigned vases have been attributed to both by different authorities. Five vases bear his signature (in two cases ἔγραφε, in the others ἔγραφεη), and he gives the additional information that he was the son of Polios. He uses three καλός-names— Megakles, Smikythos, and Phayllos, the first-named being also employed by Phintias. Two of his vases (in Munich; see Fig. [137]) are amphorae, one a hydria, one a psykter, and one a circular dish or plate like those of Epiktetos.
The similarity of his work to that of Phintias suggests that they were partners. A vase with the inscription τοὶ τήνδε, Εὐθυμίδες, “This [vase I dedicate] to thee, Euthymides,” has been attributed by Hartwig to Phintias, and may be an interesting instance of the friendship existing between the two artists. On the other hand, Euthymides seems to have viewed with apprehension and jealousy the growing success of his junior, Euphronios. On one of the Munich amphorae he places the boast—by no means with justification—“Euphronios never made the like” (ὡς οὐδέποτε Εὐφρόνιος).
The height of his activity may be placed about 500–490 B.C., a date which suits the use of the name Megakles. This probably denotes the grandfather of Alkibiades and uncle of Perikles, who was ostracised in 487 B.C. The same name, as is well known, occurs on the warrior-tablet found on the Acropolis[[1334]], and on the strength of this Hoppin attributes the tablet to Euthymides.[[1335]] There is, however, no proof that such tablets, which belong rather to the higher branch of painting at that time, were made by vase-painters.
The style of Euthymides and his preference for the amphora seem to indicate that he was much under the influence of Andokides. He still clings to the old style in his methods of decoration, as in the borders of the designs. His individuality, says Hoppin, is best shown in his draperies, the details of which are faintly indicated in red, and he shows some skill in foreshortening, but his heads are too large. He also exhibits a strong preference for mythological subjects, such as the arming of Hector, but usually balances these subjects with a genre-scene from the gymnasium or symposium.
His partner Phintias[[1336]] is distinguished from him in one respect—namely, that he painted cups as well as other shapes. But his cups have nothing in common with his Epictetan cycle, and seem rather to have been under the influence of Euphronios. We may therefore regard him as another connecting-link between the severe and strong periods. Eight vases are actually signed by him,[[1337]] though one of these has no subject, being merely modelled in the form of a head (see below, p. [493]); but from his use of Megakles and Chairias as καλός-names, and other indications, Hartwig has been enabled to add to the number no less than twelve cups and eleven other vases[[1338]].
The cups are mostly small, with interior designs only, and those single figures; his composition is not a strong point, but the single figures are good, especially the nude forms; his draperies are stiff, but effective, and his heads are influenced by Euphronios, as Hartwig notes.