The kylix of Douris corresponds closely with these ideas. Literature is represented, on the one hand, by a master of declamation holding a written scroll, upon which we read the beginning of an epic poem that a pupil is about to recite (Fig. 22); on the other side, a young master is tracing a page of writing, while a pupil stands ready to copy it. Meanwhile the tutors of the boys sit on stools, waiting for the lessons to be finished to conduct them home. No other ancient artist has permitted us to enter so intimately into Athenian life. What we term “genre painting” has appeared. It is the last and perhaps the most fertile inspiration that Douris derived from great contemporary art. It permits us, at the same time, to admire the flexibility of a great talent, starting with religious and heroic subjects in the severe style of _Eos and Memnon_, and attaining to the graceful and brilliant compositions of _The Youth and the Hare_, and _The Interior of a School_. There is an amusing sketch from the workshop of Euphronios, which may be placed by the side of these paintings, showing a writing-teacher bending forward in his chair, with forefinger raised and threatening, as if he were scolding the little fellows confided to his care (Fig. 23). CONCLUSION If we have succeeded in reproducing the rather complex physiognomy of Douris, we hope we have clearly indicated its two-fold character. His talent and his originality do not raise him above the conditions imposed upon his craft. It would be an error to ascribe genius to him. He owes his importance, on the one hand, to the disappearance of great paintings, and, on the other hand, to the innate qualities of the Greek race, which even invested popular works with freedom and beauty. Julius Lange, the Danish archæologist, has said that to judge Greek painting from the vases is like judging the light of the sun by the reflection we receive from the moon. But if, in this regard, industrial art is inferior to the lost masterpieces, let us not forget that it is nearer to the people, whose thoughts it so forcibly expresses. So the anonymous sculptors of images in our cathedral reveal to us the mediæval French soul far better than the great artists can. [Illustration: Fig. 23. A SCHOOLMASTER. Berlin Museum.]