A pair of painters that may be linked together are Oltos and Euxitheos, the former the painter, the latter the potter, of a kylix in Berlin (2264). We also have a magnificent kylix at Corneto, with the name of Euxitheos as potter, probably painted by Oltos; on one side of the exterior is an assemblage of the gods, on the other a Dionysiac scene.[[1339]] In the British Museum is an amphora, also made by Euxitheos (E 258; signed on handles), with a single figure each side (Achilles and Briseis), and a krater in the Louvre with the καλός-name Leagros seems to be by the same hand.[[1340]] Hartwig, who regards Oltos as the painter in each case, shows his connection on the one side with Andokides and Euthymides, on the other with Hieron. He displays a preference for large figures and for Dionysiac subjects.
The one vase of Hypsis, a hydria,[[1341]] must be of early date; the shape, ornamentation, and arrangement of the designs are purely B.F. in character. We have two vases of the alabastron form[[1342]]—an unusual one for signatures—made by Hilinos and painted by Psiax, and a kylix of Epictetan style in Munich signed by the latter.[[1343]] The two former are each decorated with two figures in a simple, severe, yet effective style; the latter has a B.F. interior (figure of Seilenos), and R.F. exterior with the large eyes, and a warrior on one side only. In the latter case the signature is simply
, without a verb; on the Odessa vase the imperfect tense ἐποίει is used, the casual use of which is a characteristic of the transitional period.[[1344]] Mr. Hoppin has given several reasons for attributing an early date to those two artists (about 520–500), not the least convincing of which is the use of a B.F. technique and of the large eyes.
We now find ourselves at the point where Euphronios forces his way to the front as the great master in the new school of painting in which the influence of Kimon of Kleonae can be traced.[[1345]] Hartwig compares this new departure of art to the Italian schools of painting in the fifteenth century, in which also naturalism and a knowledge of perspective become the characteristics in which they differ most markedly from their predecessors. The early work of the school of Euphronios, which we may place about 500–480 B.C., is best illustrated by the series of cups with the καλός-name Leagros, which must belong to this time. This name is found on two of the vases signed by Euphronios, the Antaios krater in the Louvre and the Geryon kylix in Munich, of which Chachrylion was the potter. The fact that it is found also on some B.F. vases[[1346]] seems to argue, not for its appearance previous to this date, but rather for the view that at the beginning of the fifth century there was still a preference for the old method for certain shapes—the amphora, hydria, and lekythos. It may also be inferred that Euphronios had already appeared on the scene while Chachrylion, Pamphaios, and Oltos were still painting more in the manner of Epiktetos, and hence we are justified in regarding those artists as belonging to the severe style, even though they overlap with the succeeding period.
The labours of Hartwig and other scholars have now made it possible to associate an extensive series of vases with the school of Euphronios, but there are only ten in existence which actually bear his signature.[[1347]] They are as follows (the order being roughly chronological):—
(1) Krater in Louvre, G 103: Herakles and Antaios; musical performance. Pottier, Louvre Atlas, pls. 100, 101.
(2) Psykter in Petersburg, 1670: Banquet of Hetairae.
(3) Kylix in Munich, 337: Herakles and Geryon. Furtwaengler and Reichhold, pl. 22 = Plate [XXXVIII].
(4) Kylix in Louvre, G 104: Theseus’ adventures. Furtwaengler and Reichhold, pl. 5; J.H.S. xviii. pl. 14.