vases were the work of the Greeks who settled in the Etruscan cities.

There are often two distinct subjects, having no connexion the one with the other, on the body and neck of the vase respectively. The same animals appear running round the vases of this class which we have noticed on those of the preceding class. A considerable number of those to which we shall first call attention are Hydriæ, or water vessels, which have, accordingly, in many cases, appropriate water subjects.

Among so many vases of interest, we select the following as worthy of especial notice.

No. 447 is a Hydria in pale clay, and varnish black, the design black, white, and crimson, with incised lines, and representing two scenes: 1. A Feast of Dionysos. Dionysos, bearded, is reclining on a couch crowned with ivy; in his right hand he receives the Kantharos handed to him by Hermes, who stands at the head of the couch; at his side is Ariadne, crowned with ivy; at the side of Dionysos stands an aged Seilenos, playing on a lyre with a plectrum, with a small table beside him, covered with viands; behind him a Mænad, and an aged Seilenos; last in the group appears Hephæstos, carrying on his shoulder a double-edged axe. The legs of the couch are represented as inlaid with metal or ivory, and a vine overshadows the scene. 2. Achilles and Memnon contending over the body of Antilochos; behind Achilles stands Thetis; behind Memnon, his mother, Aurora; behind Thetis stands a warrior turning from the fray; and behind Aurora is a youthful male figure naked, holding a spear; at the bottom of the foot are incised characters.

No. 449 is a Hydria in pale clay, and black varnish; the design in black, crimson, and white, and incised lines; two subjects: 1. The Contest of Heracles with the Nemean lion. The Hero, kneeling on his right knee, clasps the lion's throat with his left arm; Pallas stands by his side helmeted: she looks back at Iolaos, who stands behind Heracles, armed with a cuirass and sword, the gesture of his left hand expressing admiration of the Hero; at the side of the scene hang the sword, chlamys, and quiver of Heracles, who is entirely naked. 2. A frieze of three Minotaurs with human bodies, and bulls' heads and tails, running rapidly to the right.

No. 454 is a Hydria in pale clay, with a black varnish, and design in black, white, and crimson, with incised lines, exhibiting three different subjects.-1. The Repast of Heracles. The Hero is reclining on a couch, the lower part of his body covered with embroidered drapery, his head bound with a fillet, and his left elbow resting on a

cushion; at his side, on a small table, are a Kantharos, three figs, and three unknown objects. The couch is supported on legs of metal inlaid with the honeysuckle ornament; those at the head have capitals resembling those of the Ionic order. On the wall is the word Heracles, written from right to left. Behind Heracles stands Pallas Athene, about to place a wreath on his head; she wears a high crested helmet, and her ægis hanging loose from her shoulders to her hips; behind her stands Hermes; in front of the head of Pallas is inscribed Athenaia from right to left, and between her and the leg of the couch, Hermes. At the foot of the couch, stands Alkmene, the mother of Heracles; in front of her is her name.— 2. Heracles strangling the Nemean lion. Above hangs his sword and his quiver, under which hangs his name Heracles; behind him is Iolaos, seated on a cube, and holding in his right hand the club of Heracles, while, with his left, he encourages the hero; before him is his name, spelt Eioleos; behind the lion is Pallas Athene rushing to the aid of Heracles.-3. A stag-hunt; two horsemen, and two figures on foot, are attacking the stag from either side. All these figures are naked.

No. 466 is a Hydria in pale clay, with black varnish, and design in black, white, and crimson, and lines incised. On it are represented two different subjects. 1. Medea boiling the ram. In the centre of the scene is a cauldron on a tripod, under which is a fire ; out of the vessel appear the head and shoulders of a young ram turned towards Medea, who stands before the tripod waving her hands, and looking at the ram. At her side is Jason, kneeling, and putting a log on the fire; on the other side stands one of the daughters of the aged Pelias, raising her left hand in amazement, and looking back at her father, who is seated, leaning on his staff. 2. A scene in which a male figure is seizing a goat with both hands, which looks back at him; on either side is a female figure seated on a cube, and clapping her hands; behind, on the left side, is a naked and bearded figure turning away, and looking back at the scene. At the bottom of the foot are incised characters.

No. 475 is a very remarkable and interesting Hydria in pale clay, and black varnish, with the design in black, crimson and white, and lines incised. It contains two subjects. 1. Water-drawing at the fountain of Kalirrhoe. On the left of the scene, the fountain issues from a lion's mouth, placed under a building composed of a Doric entablature and column. From the entablature hangs an aryballos; before the column stands a maiden, who has placed her hydria under the fountain; above her are Greek words, expressing "Mnasila is

fair;" on her right is a meeting between four maidens, two with hydriæ, just filled with water, and carried upright on the head, the other pair on their way to the fountain, their empty hydriæ balanced horizontally on their heads. The pair nearest the fountain are exchanging greetings; above is the word "Rhodon." The pair to the right of these appear by their gestures to be conversing; behind the head of one of the figures is "Thama ;" between them "Eris," and "Anthylla the Fair." The figure at the fountain is shorter in stature than the rest, perhaps to indicate a part of the scene which is more distant from the eye. 2. The contest of Heracles and Kyknos. Between them is Zeus, with his right hand turning aside the spear of Kyknos, who raises his left hand, as if to stay the uplifted spear of Heracles. On either side a female figure is moving away from the contest, but looking back with gestures of fear or encouragement. 3. A scene of a panther and a boar, both confronted, and a Siren or Harpy regardant. Vulci.

Nos. 467-477 are very interesting, and in fine preservation. The subjects on them are all from the Epic cycle, and represent stories from the Iliad and Odyssey, or the exploits of Heracles. Several others, which follow them in the order of the numbers, are very interesting for incidental things which may be noticed upon them, though it is not necessary here to give a description of each in full.

Thus, on No. 480 is a representation of an Ionic distyle temple in antis. On No: 481, tetrastyle Doric portico, under which are no less than five fountains, three flowing from lions' heads, two from equestrian statues fixed against the wall, and seen in front; the stream issuing from vases attached to the horses' bodies. The fountains themselves are, with one exception, decked with branches.

No. 484 contains a representation of four pairs of Divinities arranged in two groups. They are, Hermes and Maia, Athene and Heracles, Apollo and Artemis, Dionysos and Ariadne. No. 486 has for its subject Priam escorted by Hermes, setting out for the Greek camp to demand the body of Hector from Achilles.

Nos. 488-498 are all Amphora, their subjects connected with the worship or history of Dionysos.

No. 503, an Amphora, with the subject of Ajax carrying off the body of Achilles. No. 504, with that of Eneas bearing off Anchises from Troy, and a combat of warriors, perhaps that of Achilles and Memnon. No. 506, Heracles subduing the Cretan bull. Nos. 507, 508, Apollo Citharœdus, and Artemis.

Nos. 514, 515 are two Vases, each with the subject of Theseus

slaying the Minotaur. The hero is clad in a cuirass; and on the former is also the story of Amphiaraus setting out for the siege of Thebes, and on the latter is the departure of Hector. No. 532 is a contest between Heracles and Triton; the Hero has leapt upon the back of the sea monster, and is clasping him round the waist; on the reverse is the arming of Hector. No. 534 is an Amphora, one of whose subjects is Heracles seizing the Mænalian stag. No. 539 has a representation of Heracles before the hot springs, Thermæ, in Sicily. The Hero stands under the stream which issues from a lion's head at the top of a rock. No. 553 has a representation of Achilles dragging the body of Hector round the sepulchral mound of Patroclos; the body of Hector is trailed behind the quadriga, which is driven by Automedon, the charioteer of Achilles. The horses are galloping past the mound of Patroclos, which is indicated by a white high mound in the form of a bell. No. 554 is a curious inscribed vase, representing for one of its subjects Achilles slaying Penthesilea, and bearing the names of Achilles, Penthesilea, Onetorides, and the maker, Exekias. The Hero is armed in the Greek panoply, with a high crested Corinthian helmet and Argolic buckler, on the inside of which is a honeysuckle ornament. No. 504* has the same subject, and the name of the maker, Amasis, inscribed upon it. an inscribed vase, with a representation of a boar-hunt. hunters, armed with spears, are attacking a boar. inscribed on this crater are Eudoros, Polyphas, Antiphatas, Polydas, Panthippos, and Polydoros. No. 563 is a two-handled vase with two subjects; the first a dance between seven Satyrs and seven Mænads; and the second, two female Sphinxes, face to face. On each handle is a Satyr dancing, and the vase is inscribed with the name of the maker, Nikosthenes.

No. 559 is

Five naked The names

No. 564 is a very remarkable vase, with two subjects upon it. The First is the Birth of Athene from the brain of Zeus, who appears in the centre of the scene, seated on a throne, with his feet on a stool; from the back of his head Athene is springing in full armour, the whole of her form being visible except the right leg, which has not yet issued from the brain of Zeus. Before Zeus stand Eileithyia, Heracles, and Ares; and behind the throne, Apollo Citharœdus, Poseidon, Hera, and Hephaestus. The names of all these personages are inscribed near their figures on the vase. The Second, a warrior, called Callias, with his charioteer in a quadriga, with one white horse, and three figures at the side of the chariot, over the head of one of whom flies a human-headed bird. There is also a frieze of animals on this vase, goats, panthers, does, and lions, and

a hunting scene, in which four horsemen are attacking a deer, and two hunters on foot, a boar.

No. 569 is one of the most remarkable vases in the collection of the British Museum. It is called a Panathenaic Amphora, and was found by Mr. Burgon, in 1813, on a spot outside the ancient walls of Athens, close to the Porta Acharnicæ. It contained some remains of burnt bones, and also a lecythos, and five other small earthen vessels, of various forms. (Vide Nos. 2603, 3039, 3047, 3050, 3056.) There is no doubt that this Amphora is of great antiquity, the letters of an inscription on it, which records that it was one of the prizes from Athens, being of a form extremely Archaic, as are also the representations of the ægis, the biga, the mode of driving, and the position of the charioteer. On a tablet appears Athene in full armour, her long hair falls down upon her neck, and her ægis is of the primitive form, being made of leather, with a frieze of thongs, worked so as to imitate serpents. On a second tablet is a biga driven at speed by a seated charioteer, who holds in his right hand a goad, and in his left a long pole terminating in a crook. The horses have no harness, but head-stalls, and are yoked like oxen to a transverse bar fastened to the pole; on the hind-quarter of one of them is a crimson mark, indicating where the goad has made a wound; on the neck is a Siren or Harpy; on the reverse an owl, with the wings spread. This vase has been engraved by Millingen, Inghirami, and Müller, and an excellent account of the inscription on it is in Brönstedt, Boeckh, and Rose, who has called it the "Vas Burgonianum." Nos. 570, 571, 572, 573, and 573*, appear from inscriptions on them, to have also been prizes from Athens.

Nos. 584, 584*, and 586, are vases with several names inscribed on them in early Grecian characters; No. 586 being a fine specimen of its class. No. 607 is an interesting Amphora containing, for subjects, the Death of Priam at the altar of Zeus Herkeios, and the contest between Theseus and the Minotaur. In the Former the aged Monarch is represented lying prostrate on the altar on his back, his beard and hair quite white, and his hand raised to deprecate the wrath of Neoptolemos, who stands over him about to hurl to the ground the young Astyanax, whom he grasps by the leg with his right hand. Near him stand Andromache, Hecuba, and Antenor. In the Latter the Hero has seized the Minotaur by the throat, and is piercing him with his sword. No. 608 has representations of Achilles and Ajax playing at dice, and of the contest of Heracles with the Nemean lion. No. 621 has the Return of Persephone to heaven. The Goddess is standing in a quadriga, holding the reins;