We should add, however, that the distinction between Greek manufacturers and their models must have been less marked than in later ages. Of this we cannot give material proof, but from certain details we arrive at this conclusion. On the one hand, the Attic craftsman was endowed, as rarely any one has been, with the art of design and the sense of style. On the other hand, the ancient fresco, particularly of the fifth century, was only drawing in flat colours, without shading or modelling. Hence, there did not exist the gulf which in modern times separates a reproduction due to mechanical means from a painting executed with all the fine shades and skilful distinctions of _chiaro oscuro_. In Greece, a painter of frescoes or a painter of vases was above all things a good draughtsman. Here is a common measure which reduces the distance between them. In the absence of original paintings we must descend a step and have recourse to the vase industry, and thus discover dimly the nature of pictorial art in the best times of classic Greece. But here another question arises. In treating of Greek ceramics, is the name of Douris the most important one among the many artists presenting themselves to our mind? He formed one of the Pleïades, who, between the expulsion of the tyrant Hippias (510 B.C.) and the Persian wars (490–479 B.C.), brought the manufacture of Athenian pottery to its culminating point. His rivals Euphronios and Brygos have, however, been considered more skilled or more inspired in their work. Why then choose Douris as the most representative type of Greek painting? This is the reason. We know at present about one hundred names of manufacturers and painters of vases. Those who during the best period have left the greatest number of works are Euphronios, Douris, Hieron, and Brygos. Leaving aside simple fragments, and only counting pieces helpful for serious study, we possess of the first-named ten signed works, of the third twenty, of the fourth eight. Of Douris twenty-eight are known.