If Euphronios thus surpassed himself one may believe him also responsible for the next step, the ‘Panaitios’ stage, to which it is a very short distance from the Athenodotos kylikes. To the transition, that is about the end of the 6th century, belongs the Paris Theseus kylix, signed by Euphronios as potter but without love-name. The boldly drawn exterior seems to form the bridge to the style of the ‘Panaitios’ master, that vigorous painter, perhaps identical with the later Euphronios, from whose hand comes the London Panaitios kylix with the signature of Euphronios as potter. The rich and ornamental interior (Frontispiece) is in a certain contrast with the exterior scenes, and is so closely connected with the early works of Duris, that we may enquire, whether Euphronios did not entrust the decoration of the interior to a talented pupil with a great tendency to elaboration. But perhaps this contrast is due only to the representative seriousness of the subject. Young Theseus, in order to receive his rightful position as son of Poseidon, has gone down to the bottom of the sea, and in the presence of Athena is greeted by Amphitrite. The time of Panaitios and that of Chairestratos, which partly coincides with it, remove many hard features of the Leagros stage. The turnings of bodies lose all violence: in the frontal stand of both feet, and in the oblique view of [Illustration: PLATE LXIX. Fig. 116. AFTER THE BANQUET: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER BRYGOS.] [Illustration: PLATE LXX. Fig. 117. A MAENAD IN FRENZY: FROM AN ARCHAIC RED-FIGURED POINTED AMPHORA.] the head, new possibilities are indicated. The pupil is now always in the inner corner of the eye, though the bold experiment of the ‘Sosias’ painter is not generally adopted. Above all a new current enters the drapery. The divisions of the chiton with patterns of folds gives way to a more natural and uniform distribution: the play of folds at the edges of the cloaks is generally emphasized by a thick pair of lines. These tendencies become complete in the later Chairestratos and the Hippodamas period, with which we get down to about 480 B.C. The masters of this later date deal now quite freely and easily with the achievements of their predecessors: the old rude vigour gives way to ornamental elegance or swinging liveliness. The relation of figures to space also alters: the forms move more freely, are less confined by space, and are surrounded with air. Thus the free decoration of the Oltos amphora (Fig. 104) asserts itself once more. The small so-called ‘Nolan’ necked amphorae, and the popular amphorae of Panathenaic shape, only reserve one figure or group in the black surface. The fine and elegant effect of this ‘Nolan’ decoration often attacks other types of vases, to which is now added the bell-krater (cp. Fig. 123 centre).