repeated three times, so as to form a frieze. Two chariots are in rapid movement; under the horses of the foremost, is a bare, under those of the second, a dog running; in front, three combatants on foot. No. 185 is a saucer, bearing on the brim, "and on the inside of the mouth, the impression of a frieze from a cylinder, representing a bull devoured by two lions. No. 186 has a long and elaborate frieze impressed in the same manner as that on the last mentioned, representing two figures, apparently draped females, with conical caps, reclining on a couch, beneath which are two birds. At the head of the couch stands a naked male figure playing on the double flute, and at the foot are two vases, one placed upon the other, and a branch. Towards these a naked male figure is advancing, raising his right hand, and holding an instrument, in shape like a hatchet, but perhaps intended for a strainer; before him is a branch inclined. Behind this group is a female stretched on a couch at full length, with a low table at the side, and a naked male figure advancing to the foot of the couch. The whole subject is repeated seven times. These friezes are bordered by an incuse astragalus moulding. No. 187 is a saucer of smaller dimensions, but with a frieze disposed round it in a similar manner, and repeated several times.

IV. Miscellaneous Varnished Ware, mostly of the Early

Period.

The vases of this class are chiefly found in the same tombs at Cervetri and Vulci as the early Græco-Italian vases with painted figures. They seldom have any ornament beyond a hatched or a zigzag pattern, with a few flowrets stamped upon them. Their material is a pale red clay, and the varnish used is black or red, often exhibiting a metallic lustre. Occasionally, though rarely, there are representations of the human face, as in Nos. 244, 286, 292, 293.

V. Italian Vases of the Archaic Greek Style.

The vases in this style are particularly interesting, as well from the character of their Art as from the subjects which are presented to us upon them. They have certain peculiarities which separate them off with great distinctness from the more archaic works which we have just described, and the finer vases which we shall mention hereafter. On these, for the first time, is painted the human figure, while animal forms constantly occur in friezes, and as detached subjects. The ground of the vase itself is generally ash-coloured; the design is always black or crimson, and the outer lines of the figure, and the inner lines marking the development of the muscles, are

incised with a graving tool. The figures are almost always represented on a ground semée with flowers. The earlier vases have nothing on them but human forms, animals, and flowers; on the later ones, subjects taken from the Iliad, and the Epic cycle generally, begin to make their appearance. On comparing these designs with the contemporary Greek sculpture, it may be said that they are to the vases of the best period what the sculptures from Selinus, Agrigentum, and Ægina, are to those of the Parthenon. It must at the same time be remembered, that not every individual vase which is arranged here under this period is certainly of that date. As in the case of the statues and busts of the Towneley collection, so also in that of the vases in this room; some are doubtless copies of more ancient works, and reproductions at a later period of the Archaic style. They have been discovered chiefly at Vulci and Nola, at Campo-Scala, near Vulci, at Civita-Vecchia, and Cervetri, and a few likewise in Magna Græcia.

Of the earlier and more simple ones, the following are good examples :-Nos. 309—10, 316-17, have representations of animals in black and crimson, on a dark brown ground. The rudest are Nos. 328-331, with lions, stags, and aquatic birds. No. 330, a very fine and interesting specimen of its class: a Krater, with columnar handles of ash-coloured clay; the design is in black and crimson, with incised lines, containing two friezes; on the first, a swan between two panthers, and a swan between two birds with ears; on the second, a goat facing two panthers, repeated four times; on each handle is a bird with ears, and under each a pair of pigeons.

No. 338, an Aryballos of ash-coloured clay, and a design in black and crimson, with incised lines, representing two lions confronted, and a hare placed vertically between them. The ground is semée with flowers. No. 339, an Alabastron in pale clay, with design in black and incised lines, representing two Sirens flying to the right; the one in front turning back to look at her companion, who is playing on the double flute.

No. 358, an Aryballos in ash-coloured clay, and a design in black and crimson, and incised lines, which has been retouched. On it is a bearded male figure, with drapery round his loins, raising both hands in adoration, and before him a bird with ears. No. 369, an Aryballos in ash-coloured clay, the design in brown and crimson, with incised lines, representing five figures, three of whom are bearded, and all of whom wear chitôns reaching to the loins; they stand in grotesque attitudes, and form two groups; the field is semée with flowers, and on the handle is a female head and a flower. No. 373, an Aryballos of ash-coloured clay; the design in black and crimson,

with incised lines, representing two cocks confronted, and a serpent between them; and behind, an owl. In the area are three lotus flowers. No. 381, a two-handled vase of pale clay, with a black varnish and ornaments, imitated from basket-work, like those on the early Athenian vases. On each side, between two triglyph-like ornaments, is a chequered lozenge; under each hand is a mæander, and on the shoulder a chequered band. No. 387, a Pinax, in red clay, with the design in maroon, accessories in white, and incised lines; representing, in the central circle, a mule, with a bird flying towards it, and another perched on its tail; and in the exergue an aquatic bird flying, and a fox. These central figures are encircled by a frieze, representing a hunting scene, in which three naked male figures are chasing a buck, hind, panther, and lion: two dogs are attacking the buck. On the rim, in four compartments formed by egg mouldings, are alternately foxes and dogs. No. 420, a Lebes on a tall stand, in ash-coloured clay and varnish, black and maroon, with a design representing a frieze of goats and a frieze of lions, goats, and boars; the field of the friezes semée with frets, lozenges, flowers, and other ornaments.

Of the less simple and more advanced style, we select the following as good examples.

No. 421, an Oinochoĉ of ash-coloured clay, and design in black and crimson, with incised lines. On it are three friezes: the first a double honeysuckle ornament between two seated sphinxes-on one side a panther, and a Siren or Harpy; on the other, a panther and boar: the second, three groups of Greek warriors engaged; in the centre, a warrior, Ajax, protects with his shield a kneeling archer, Teucer, against the uplifted spear of his adversary, Hector; on the right, two warriors contend over a fallen figure; on the left, one of the pair of combatants has fallen on his knee; seven horsemen, three on one side and four on the other, are hastening to take part in the battle; in the field are eagles flying, and flowers; and under the handle is a Siren, or Harpy flying: the third, groups of a lion and a goat, and a panther and a goat twice repeated. The field throughout is semée with flowers.

No. 422*, an Oinochoć in ash-coloured clay, and design in maroon, with accessories in white. Its style is very archaic. Round the body is a chain pattern; in each link of the chain is a bird resembling a crane, with a long crest hanging down the neck; on the shoulder are two horses advancing, face to face, between them two waterfowl, back to back; on the neck, a frieze of three male and two female figures placed alternately, the female figures wearing the

talaric chitôn; one of them stands between two male figures, crossing arms with them; the other holds in her left hand some uncertain object, and has her right arm crossed with the left arm of the male figure, who runs towards her; between these is a bird like a crane. The level on which these figures stand is broken by triangular projections, which are represented also in the lower frieze, under the body of one of the foxes, and between the hind legs of the other. Civita Vecchia.

No. 427, an Amphora in pale clay, the designs in black, white, and crimson, with incised lines, in the Etruscan style, has four subjects upon it, and is a curious and interesting specimen of this class of fictile works. The first subject represents the combat of Heracles and Hera at Pylos; the Goddess wearing a talaric chitôn, and armed with a goat's skin helmet, with long horns, an Argolic buckler, and a spear. The Hero is clad in the lion's skin. Behind Heracles stands Pallas Athene; and behind Hera is Poseidon, holding his trident. Between the combatants is a cauldron from which issue snakes. The second is a combat between Achilles and Hector; behind Achilles is Pallas Athene; behind Hector, the fig-tree near which Homer (Il. x. 145) places the scene of the combat. Both warriors are armed with Corinthian helmets, Argolic bucklers, swords, and spears. The third is a frieze of quails. The fourth is a frieze composed of two boars meeting, at a tree, a panther, lion, gryphon, and sphinx; on the neck is a pair of panthers, with heads conjoined-reverse, another pair with their right fore-paws crossed. Cervetri.

No. 430 is an Amphora in pale clay, and black varnish; the design in black, white, and red, with incised lines. On it is a representation of Pegasus between two trees, to one of which he is fastened by a halter. Round his neck is a row of pendent ornaments. The same subject is on the reverse of the vase. The subject is probably the descent of Pegasus from Mount Parnassus.

No. 434, though it has been broken, and since much restored, is a very interesting Amphora in pale clay, with black varnish, and black design, and incised lines. The style is coarse, and some of the figures doubtful, but the whole subject represents the Sacrifice of Polyxena. In the centre is a bearded warrior, Ulysses, dragging Polyxena to an altar; on the other side of which stands another bearded warrior, Neoptolemos, about to slay her with his sword. Behind the bearded warrior is Hecuba, and on the reverse two Trojan females. Below the second figure stands Polydoros draped, his left hand raised in a deprecating attitude.

No. 443 is a Hydria in pale clay and black varnish, with design in

black and incised lines; the style Etruscan on it are two subjects. The first, a Giganto-machia; in which is a Giant, the upper part of his form human, with wings on the shoulders, and terminating at the waist in four snakes, each snake having a small dorsal fin. The Giant, who is assailed on either side by a male figure armed with a spear, has raised a mass of rock over his head to hurl at his antagonists. The second, a naked, beardless, male figure, with long hair, running between two Pegasi. All these are moving to the left. Vulci.

Other vases of considerable interest belonging to this class may be seen under Nos. 423, 424, 425, 428, 429, 441, 444, 445. Nos. 428 and 429 bear inscriptions.

The shapes of some of these vases are curious-thus, No. 410 is in the form of a Satyric head; No. 414 in that of a deer couchant; No. 417 in that of an ape; No. 418 in that of a double head, male and female; No. 418* in that of a Harpy or Siren; and No. 419, an Askos, is evidently a copy of the wine skins in use at the period when the vase was made.

VI. Vases of the Transition Style.

To the earlier specimens which we have just described, succeed those with black figures laid upon a light ground. These are made of red clay, tinted with an orange-coloured varnish; the design was drawn in slight dark outline, or traced with a point, and the whole internal figure' filled up with black. The light inner markings of the figure were then incised on the black pigment with a graver, which cut down to the yellow ground of the vase itself; and the accessories were picked out with purple and white as in the class last described. These vases are often accompanied by inscriptions recording the names of the potter or of the painter, and also of the persons represented; these inscriptions are particularly valuable as evidence of the early form of the letters employed on them. Their subjects are almost all taken from the ancient Grecian legends, the Cypriaca, the Iliad and Odyssey, the Hymns of Homer, the works of Alcæus, and other early Greek poets. The figures on them are still drawn in the archaic style, and resemble those of the early coins of Sybaris, Caulonia, Tarentum, and other places in Magna Græcia. This class of vases is often found associated with Etruscan art and inscriptions, in the Tombs of the Etrurian Lucumos. They also occur in Greece Proper, but with certain differences of fabric, which forbid the supposition that they were manufactured there, and exported thence to Etruria. It is more probable, that while those found in Greece itself are the indigenous product of that country, the Italian