We may say that Douris gave proof of originality by frankly dealing with modern subjects. A kylix at the Louvre, unfortunately damaged and restored, shows in the interior an hoplite striking with his sword a fallen barbarian soldier, who holds a standard with two square-shaped flags (Fig. 20). This typical accessory leaves no doubt as to the meaning of the painting. A banner would never be placed in the hands of a Trojan. It is very probable that the victors of Marathon picked up Persian standards on the battlefield with the spoils, and that we have here the reproduction of such a trophy. We look upon this sketch of Douris as a precious record of the army led by Datis and Artaphernes in 490. For the vase is not of a style to be dated after 480, that is to say, after the second invasion conducted by Xerxes in person. Other vases attributed to the painter Onesimos represent battles of Greeks against Asiatics on horseback, very realistic in form. Here one may again see copies from life. Lastly, Greeks and Persians are fighting on the sculptured frieze which adorns one side of the small temple of Nike Apteros on the Acropolis. These, however, are rare allusions to the greatest military achievements of the century. It is not difficult to imagine what they would have produced in modern art. We must, however, beware of crediting Douris with an exaggerated initiative, and we must not forget that among the lost works of Greek art, a painting by Mandrocles is mentioned, dating from Darius’ expedition into Scythia, _The Crossing of the Bosphorus_, and at Athens a _Battle of Marathon_, attributed to Panainos, in which Miltiades and the chief Greek generals were seen repulsing the Asiatic phalanxes. Douris and Onesimos did not lack models to guide them into this channel. The value of their works is above all in the good fortune which has preserved them to us, and gives us, if not the letter, at least the spirit of the painting dedicated to contemporary history. 3. _Everyday Scenes._ Here, again, it is convenient to divide the work of Douris into two parts. At times, like all the manufacturers, he made use of old subjects with hardly any change; then, again, he sought new ideas and popularized unused themes. The latter, of course, will chiefly occupy our attention.