The transition may first be followed in the Kylix, which happily can be traced in its development by many signed specimens. The firm of Ergotimos produces a cup with knobbed handles and no set-off for the rim, the interior picture of which is framed by tongue pattern, thus a kylix of the type known to us from Corinth and Chalkis; on the outside the Satyr is still loosely connected with drinkers of the old type, and has thus not yet been associated with Dionysos and the Maenads. This type of kylix shews marked Chalkidian influence, especially in later specimens like that of Boston (Fig. 92), on which Circe (painted white over black) hands to the companions of Odysseus the fatal potion and so brings about her own abrupt end. Series of branches and buds, probably also the dog in front view (p. 81) [Illustration: PLATE L. Fig. 91. ‘LITTLE MASTER’ KYLIX. Fig. 92. ATTIC KYLIX WITH KNOB-HANDLES.] and much in the style of the figures come from the neighbouring fabric. This Chalkidian influence is to be traced on a second type of kylix belonging to this period, that with off-set rim, (not the one in Circe’s hand), which for a time carelessly draws its figures over the junction, but finally makes a clean cut between handle frieze and rim ornament: the rim is _e.g._ decorated with a branch or painted black, the handle frieze bears figures or the artist’s signature in neat letters between the palmettes proceeding from the handles. The masters of the François vase themselves took this step forward; in Naukratis and the interior of Asia Minor signed specimens have been found, speaking documents of the popularity of the fine Attic ware in the East, which help to explain the alteration of the Ionic style (p. 86).