We have already stated that, in order to carry out these very fine lines, the artist probably held his brush firmly, not only with the tips of his fingers, but with closed hand as the Japanese painters still do (Figs. 2 and 25). He must move slowly and firmly in tracing these fine lines. Constantly obliged to take fresh colour, he sometimes had to break a line two or three times; but these joinings are only visible with a magnifying glass. It is said that it was impossible to make any correction of the stroke, and that the faultless execution of the lines proves the wonderful skill of the Greeks. We believe this to be an error. A wet sponge probably sufficed to remove any drawings or parts of them from the clay, and when it was dry the artist could begin work again. It was a question of patience and skill. It is because correction was so easy, that the results attained are usually perfect. [Illustration: Fig. 10. CONTEST OF AJAX AND HECTOR. Exterior of preceding Cup.] The painting finished, the pot was handed over to a workman to fill in the background between the figures with black as well as the foot and the edges of the handles. After the black had dried, the pot was returned to the artist’s hands to be retouched with colour. In the sixth century, in the black-figured style, many colours were used, as violet-red and white. At the time of Douris, the red figured vases displayed very few complementary colours. Great simplicity characterized the taste of the times. A few red lines sufficed to indicate fillets tied in the hair, belts holding swords, the reins of horses, etc. Red was likewise used to trace inscriptions or the signature of the artist (Fig. 8). Others preferred to inscribe it in black on the foot of handle (Fig. 15). Others again incised it with a style in the thick colour. White only returns again to favour after the Persian wars. About the time of Douris, in the workshop of one of his rivals--Brygos--who may have been a little younger, attempts were made to heighten the effect of the red figures by a little gilding cautiously placed on the outlines of the armour, helmets and vases for libations. It is a return to the rich polychromy, which later continues to develop, and ends in those pretty little gilt vases devoted to scenes of child life, beloved by Attic customers towards the end of the fifth century. As far as we know, Douris does not seem to have taken part in the manufacture of the beautiful drinking cups with a white background and fresco tones of brown, red and violet, with which the workshops of Euphronios and his successors were busy (Fig. 7). He adheres to the classical method of figures left in the red clay, and only retouched by a few wine-coloured lines. It may be said that he is not a colourist. To his eyes, as to those of Ingres, drawing is the very foundation of the art.