First he must decide on the subject. The Greeks tried, as much as possible, to adapt the design to the purpose of the vase. An amphora or a krater would not usually have the same design as a kylix. There were no rules on the subject, and the utmost liberty was given the artist. Nevertheless, we notice that grave subjects and personages in attitudes of repose are given the preference on large vases, which had stable bases and were rarely moved, as harmonizing best with their broad surface and vertical lines. Animated or everyday subjects are better adapted to the horizontal sides of a kylix, which circulated freely in the hands of guests. For the same reason, we may say that the painting of large vases remained essentially conservative, more attached to ancient methods and subjects, while the painting of the kylix constantly called forth new ideas: hence its great importance in the fifth century. Certain archæologists claim to have discovered two distinct branches in the industry--but that is an error. The same distinguished artists produced the large krater and the kylix, as for example Euphronios. But it would be more correct to distinguish two schools side by side, and those artists who by preference decorated the kylix were more “progressive.” Douris is of this number, if not in style, at least in the choice of his subjects. He tries to create new designs; he draws from daily life, banquet scenes, dancing scenes, scenes from the palæstra (Fig. 6), amorous scenes--well adapted for a drinking cup. On the other hand, if he approaches heroic or mythical compositions, he makes use of the opportunity to draw beautiful bodies in motion, rape or battle episodes: The Nereids flying from Peleus (Fig. 13); Theseus killing the Minotaur and Attic robbers (Fig. 11); or the battles of heroes in Homer, as those of Menelaos and Paris or Ajax and Hector (Figs. 9 and 10). At other times, we find allusions to recent glorious events which had taken place in Greece, a Greek soldier striking down a Persian (Fig. 20), Hoplites and Asiatic archers at close quarters. He belonged to that group of artists who are always looking for action, for the new and the modern.