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.

Nos.

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

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 hydria 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 66 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 Æneas 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