The composition of Douris (Fig. 11) is more firmly knit, because it concentrates all the attention on the adventures of the hero against monsters and robbers. In the interior is the fight with the Minotaur, an ancient and classic theme from the sixth century; on the reverses, the defeat of Kerkyon, of Skiron and Sinis, and the hunt of the boar of Krommyon; two women give some variety and animation to the whole, the nymph Phaia who lived at Krommyon, and the goddess Athene who protects her favourite hero at his labours. Here again is a closely-knit trilogy; but, we must confess, the execution is far inferior to that of the cup of Euphronios. It is accurate and a little commonplace. There is, however, noticeable a desire to express landscape, a care for external ornament, visible in the palm tree and the small trees placed about, and by a cloak thrown upon a tree trunk. It is a rare mark among Greek painters, and worthy of note. We will look more rapidly at the paintings of the kantharos at Brussels, the importance of which, as being a vase moulded by Douris himself, we have already mentioned (Fig. 1). The figures represent “Herakles’ contest with the Amazons,” an old type, nearly a century old, but with the added beauty of a clear and accurate style, and an admirably certain execution. Nor are the subjects new which are treated upon another kylix in the Louvre, _The Rape of Thetis by Peleus_. But Douris deserves the credit of having skilfully revived an old subject known on Corinthian and Attic vases of the sixth century. It is possible to follow in the Louvre the same painting done in turn by a Corinthian, then by an Attic painter of black figures, and lastly by Douris. It is of great interest to follow the development of the composition and of the grouping of the figures, of their attitudes, and of the drawing itself. We perceive here the same differences as in comparing a Madonna of Cimabue with one of Lippi. Symmetry of figures, stiff and angular outlines and severe features have given place to life and tender touches of the brush. At the same time, the close connection of these successive works appears most striking--the link with the past has never been severed; the fundamental conception has always remained the same; improvement has come from within, and extends to every little detail. [Illustration: Fig. 15. HERA AND IRIS ATTACKED BY SILENI. By Brygos. British Museum.]