A kylix in the British Museum, with _The Adventures of Theseus_ (Fig. 11), of more recent form and style, teaches us still better that behind the vase painter may be concealed other and greater personalities, who are the true creators of the work of art. A famous kylix from the workshop of Euphronios shows us similar scenes glorifying the Athenian hero, forming with the _Eos and Memnon_, by Douris, and _The Taking of Troy_, by Brygos, a glorious trio of ceramic masterpieces, of which the Louvre is justly proud. In comparing the works of Douris with those coming from the workshops of Euphronios, the idea suggests itself that they either copied one another or borrowed from one common original. Both suppositions are possible. As already mentioned, no law or custom prohibited artistic plagiarism. If Douris knew of the beautiful work executed by his colleague, nothing prevented him from adopting it for his own use. But, on the other hand, the broad style of Euphronios’ production and the peculiar character of the adventure of Theseus recovering the ring of Minos from the bottom of the sea, a subject treated by Mikon, one of the great painters of the fifth century, finally the great number of works of art which at this period celebrated the national hero’s glory, lead us to believe that a potter had no need to look over his neighbour’s shoulder to gain suggestions for a theme of Theseus. He was surrounded by models in painting, sculpture, painted bas-reliefs, models, carved and engraved. The supposition of a common model or several models, from which a craftsman, in a way, chose the desired subject, seems most probable. [Illustration: Fig. 14. SILENI PLAYING AND DANCING. Vase by Douris. British Museum.] It is only in this sense and with such reservation that these two cups can be compared. In looking at the superb vase in the Louvre, no one will hesitate to give the preference to the workshop of Euphronios. In the interior is _The Visit of Amphitrite_; in this painting the author has retained all the seriousness of great religious art with a touch of archaism in the drawing and position of the characters, showing thereby that he has copied an ancient fresco; while, on the contrary, on the reverses, the combats of Theseus with the robbers Skiron, Prokrustes and Kerkyon, and the struggle with the Marathonian bull, are treated as in metopes, with bold, vigorous lines, giving rather a feeling of the influence of sculpture (Fig. 12).