The entirely red-figured vases by Andokides are not necessarily older than the black-figured: the latest vase signed by him (in Madrid) still combines both techniques. It must have been decorated by a third artist less archaic in feeling, who also worked for the potter firm of Menon. The Menon painter adds to the Andokidean framing patterns the row of circumscribed palmettes, though not yet in their final shape, and approximates in style to the young Euphronios and his rival Euthymides. The ornament of the Madrid vase does not seem to have been devised as border pattern. It must be derived from the tendril-composition, which on red-figured vases takes the place of the Amasis ornament (Fig. 98) and is in great favour as handle-ornament for kylikes. On the fine amphora in Paris, which the transitional master Pamphaios made after the patterns of Nikosthenes, and Oltos probably painted with scenes of hetairai and satyrs (Fig. 104), it appears as handle decoration together with an equally novel calyx and leaf ornament, which adorns the shoulder. The free decorative method of composition, which can be traced back through Amasis (p. 105) and Klazomenai to the Fikellura style (p. 61) is exactly in the manner of the red-figured style, which not only shakes off the frieze constraint but [Illustration: PLATE LIX. Fig. 104. HETAIRA; SATYR AND MAENAD: AMPHORA WITH THE SIGNATURE OF THE POTTER PAMPHAIOS.] [Illustration: Fig. 105. THE ARMING OF HECTOR: FROM AN AMPHORA BY EUTHYMIDES. _From Furtwängler-Reichhold, Griechische Vasenmalerei._] [Illustration: PLATE LX. Fig. 106. FOUNTAIN: FROM A RED-FIGURED HYDRIA BY HYPSIS.] even the pictorial field: on the amphora, which the same painter executed for the potter Euxitheos, he discards the old frame, which now only separates black from black, and his example is followed sooner or later by other artists. It is true that the painter Euthymides, the contemporary of the young Euphronios and gifted continuer of Andokides’ body amphorae, keeps the frame on his vases, which are now purely red-figured. But he not only helps the later palmette ornament to triumph over the old bands of zig-zags and buds (Fig. 105) but enhances the unity of effect by beginning to leave the ornament in the colour of the clay and to shape it in red-figured manner, as was the case straight away with the handle decoration (Fig. 104). Almost as a rule he puts in his field three standing figures of large dimensions, in which he demonstrates to the eye his progress in observation of nature. Under the garments bodies begin to move, and their anatomy male and female is studied by the artists of this period with tireless zeal.