If the kylikes of the ‘little masters’ last to the beginning of the red-figured style (p. 109), the eye-cups go a good bit beyond this limit. The type must have been brought to Athens from the ‘Phineus’ manufactory (p. 80) in the later period of the ‘little masters’; and perhaps the Ionian Amasis, who has left a fine specimen with a figure holding a branch between the eyes, had much to do with this naturalization. Certainly the Attic artists never rival the swelling shapes and vigorous life of their prototypes. With this type the outside begins again to be treated as a decorative unit [Illustration: PLATE LI. Fig. 93. DIONYSOS: INTERIOR OF AN EYE KYLIX BY EXEKIAS.] without division, an arrangement of which the red-figured style makes almost exclusive use. The interior is generally not more richly decorated than by the ‘little masters.’ When Exekias on one vase adorns the whole interior surface with a wonderful idyll, the giver of the vine in a sailing boat with dolphins leaping round him, this is quite an exception (Fig. 93): that the ground is painted brick-red, is quite unique. The names Ergotimos and Klitias, Exekias and Amasis, Charitaios, Pamphaios and Nikosthenes show that the manufacture of kylikes was by no means a separate speciality, and that it may be simply due to accident if certain firms producing larger vases do not recur among the ‘little masters.’ The larger masterpieces naturally show the progress of the style much more plainly than the conservative Tyrrhenian ware and the kylikes. We noticed above, that single specimens, which stand out markedly from the ordinary ware of the period, attach themselves to the François vase. The master of a fine lebes from the Acropolis showing Ionic influence, who occasionally still colours the male face red, probably emigrated from the East like his contemporaries Kolchos and Lydos. Like Klitias, the masters prefer to cover garments with rich patterns rather than to render folds: they relieve the monotony of white chitons by vertical strokes, and divide the surfaces of cloaks into stripes. This division does not yet attain any effect of depth. But when Nearchos, the father of two ‘little masters’ (pp. 101 and 112), divides the short male chiton also by wavy lines into black and red stripes, he has already in his mind the rendering of folds, and Kolchos grades the ends of cloaks with clear folds. This emancipation from the old superficiality, which in the period of the ‘little masters’ leads to the emergence of the ‘fold’ style in the works of Amasis and Exekias, must now be exhibited in a selection of amphorae and hydriae in connection with the change of vase-shapes and decoration.