Turning to the Attic fabrics we find that in the beginning of the sixth century the prevalent form (evolved from the Corinthian type) has a high stem and deep bowl with off-set lip, the decoration being confined to the upper band of the exterior, in the form of a frieze (Fig. 51). This type is also illustrated by a small Rhodian group in the British Museum,[686] which, however, has elaborate interior designs. In the next stage, represented by the Minor Artists (see p. 379 ff.), the form remains the same, but the manner of decoration is different, interior designs again appearing; often the design is confined to a narrow band, the rest of the exterior being coloured black. Lastly, towards the end of the fifth century, an entirely new form is introduced, in which the break in the outline disappears and the bowl becomes flatter, with a gracefully-curved convex outline, while the stem is shortened (Fig. 52). This form is the one adopted throughout the R.F. period, with few exceptions, and it is possible that it was actually invented by the earliest R.F. artists, such as Nikosthenes and Pamphaios, though it is also employed by Exekias.[687] The methods of decoration cannot however be treated of here. [Illustration: FIG. 52. KYLIX (LATER FORM).] An extremely delicate form of kylix is used by the potter Sotades (Chapter X.), with handles in imitation of a bird’s merrythought. Towards the end of the fifth century the shape changes somewhat, the stem disappearing and the bowl becoming deeper. In Southern Italy the kylix-form is only represented by gigantic shallow bowls, with small stout handles attached to the rim, probably intended for hanging against the wall. The Naucratite kylikes mentioned above seem to have been made somewhat after this pattern; it was at any rate typical of Hellenistic taste. [Illustration: FIG. 53. PHIALE.] The word φιάλη[688] (Lat. _patera_) bore in Greek a very different meaning from that suggested by the modern word _phial_. It was in fact a shallow bowl shaped like a saucer, and had no handle, but in place of one a boss (ὄμφαλος) in the centre, which was hollowed out underneath in order to admit of the insertion of a thumb or finger (Fig. 53). Hence it was generally styled μεσόμφαλος or ὀμφαλωτός.[689] As a vase-form it is not of frequent occurrence, and was probably more frequently made in metal, especially in the Hellenistic period. Those depicted on painted vases are usually indicated as having ribbed or fluted exteriors, which can only denote metal (cf. Vol. II. Fig. 132). About the third or second century B.C. imitations of metal phialae in terracotta, with moulded interior designs, are of common occurrence. Being signed by potters residing at Cales, they are usually known as “Calene phialae.” There are two in the British Museum,[690] which are an exact reproduction of silver specimens in the same collection.