the double flutes. The mouthpiece is fastened over the crown and back of his head by two straps. On the reverse, on another plinth. is the judge in the musical contest, to which the preceding figure on the obverse relates; before him, as though issuing from his mouth, are the words, "Let him play the flute "-the order for the flute-player on the reverse to begin. No. 798 is an Amphora, with a representation of Demeter sending forth Triptolemos to sow

corn.

No. 801 is a remarkable Hydria, with design red upon a black ground. The subject is the Arrival of Perseus at the Court of Kepheus. Perseus is equipped with the winged helmet of Hades, and Kepheus is resting both his hands upon a staff. Before him are three Æthiopian slaves, two of whom are engaged in making a hole in the ground before him; the third is directing the two former. On the left of this scene stands a tall figure in Oriental costume, who is supported by two Æthiopian slaves; and to the left are three other slaves carrying an apparatus for bathing; these slaves have all short curly hair bound round with diadems.

No. 804 is an Amphora: the main subject an Argonautic sacrifice. On the left side of a blazing altar stands Heracles pouring a libation on the flames from a cup; above is a Victory hovering in the air; opposite stands a youthful male figure, probably Jason, holding in the flames a piece of meat on two spits. Above Heracles is the word, "Archenautes," Naval Commander, an epithet referring to the Argonautic expedition, of which, according to one set of traditions, he was the chief. A flute-player is present, playing on the double flute, the mouth-piece being attached to his mouth by two straps. The name of the player is Sisiphos. On the reverse are three youths standing side by side. No. 807 represents the reconciliation of Menelaos and Helen, after the taking of Troy; she turns suddenly round upon him as he pursues her; at the sight of her face the sword drops from his hand.

No. 808 is a Panathenaic Amphora, with pointed base and stand, and a design painted in a very grand style. The First subject on it is Dionysos receiving in his kantharos a libation from Ariadne, here called Nymphaia. Dionysos is ivy-wreathed, and Ariadne has her hair falling in curls over her cheek. The Second subject consists of two female figures standing, and facing each other; one holding a tendril with a leaf, and the other a flower. The vase bears the names of Dionysos and Nymphaia, and has some other letters upon it.

No. 84* is a shallow two-handled cap, with design red on a black

ground. The First subject is the Banquet of the Gods, perhaps on the occasion of the marriage of Thetis, whose palace is probably indicated by a Doric column, on one side of which is Zeus reclining on a couch, near which Amphitrite is seated. Upon the vase occur the following personages, with their names inscribed over, or near them :-Zeus, Ganymedes, Hera, Poseidon, Amphitrite, Dionysos, Ariadne, Komos, Aphrodite, Plouton, and Persephone. It is one of the most interesting vases in the collection, from the number of figures depicted on it, and the excellence of the drawing of the details.

No. 822 contains a representation of Heracles bringing the Erymanthian boar to Eurystheus, and of a quadriga drawn by a youthful figure. An inscription on it states that it was made by Euphronios. No. 824, a shallow two handled cup, contains representations of five of the exploits of Theseus, arranged in scenes from right to left. The First is the contest with the robber Sinis Pityokamptes; the Second, that of Theseus killing the son of Krommyon; the Third, the contest with the robber Kerkyon; the Fourth, that with the robber Skiron; the Fifth, that with the Minotaur. Doris is mentioned on the vase as the artist who painted it. No. 824,* a shallow two-handled cup, has representations of nearly the same contests as the last, only somewhat more fully told than on the preceding one. On the outside and inside of the cup are friezes decorated with these exploits of Theseus, in the following order :—1. That with Sinis; 2. That with the son of Krommyon; 3. That with Kirkyon; 4. That with Polypermon or Damastes, surnamed Procrustes. Theseus has thrown the robber down on his own bed, and is about to kill him with the double-edged axe; Procrustes is naked and unarmed; the bed is represented by a slight horizontal bar resting upon two legs, and having its whole length divided into small equal parts like a measuring rod; 5. The contest with Skiron; 6. The capture of the bull of Marathon. The same scenes are repeated on the inside of the cup with slight variations, and in reversed order, being arranged from left to right. In the centre of the inside is the contest with the Minotaur. Theseus appears to be drawing him forth from the palace of the Labyrinth, the building being represented by a Doric column with its entablature and triglyphs.

No. 830, a shallow two-handled cup, represents two interesting subjects. The First, the surprise of Polyxena and Troilos by Achilles at the fountain, outside the walls of Troy; the Second, the quarrel between Achilles and Agamemnon. No. 831 has a repre

sentation of Briseis being led away from Achilles. The Hero appears on the right of the scene seated in his tent in a dejected attitude. On the reverse is the entrance of Briseis into the palace of Agamemnon, that place being indicated by two Doric columns. No. 834 has a representation of two wind-gods, probably Boreas and Zephyros, bearing off the dead body of Memnon; they are represented with wings, and armed as youthful warriors; Memnon appears naked, with a long pointed beard and a diadem. No. 851, a shallow two-handled cup, has a curious picture of a symposion or drinking scene, which is interesting, owing to the great number of different drinking vessels which are represented upon it. No. 864 has a picture of Heracles pursuing the robber Cacus. No. 864 has a representation of Heracles supporting the heavens on his back. The Hero is bearded, and wears the lion's skin. The heavens are indicated by a hemisphere, on which are a crescent and two stars. On the reverse is Atlas approaching the tree in the gardens of Hesperides, round which is coiled the two-headed serpent Ladon; on the tree are three golden apples.

No. 880 has for its chief subjects Anacreon playing on the double flutes, and accompanied by his dog. He is represented laureled and bearded. On the reverse is Bythallos standing and looking back at Anacreon. No. 891, an Amphora, with design red on a black ground, with accessories in crimson, has a representation of a boy bending forward to throw a quoit, which he holds in his right hand; he wears a diadem, which rises up in a point over the forehead.

No. 904 has a scene of two young athletes, one about to hurl the diskos or quoit, and the other seated on the ground before him. The discobolos is stepping with his right leg foremost, advancing his right arm with the diskos previously to drawing it back, and stretching forward his left arm at the same time. No. 920* represents Heracles receiving the poisoned chiton sent to him by Deianira. The Hero is bearded, and naked, and holds in both hands the lion's skin, which he has just taken off; before him stands a figure, perhaps Iole, holding in her right hand the chiton. On the reverse is another female, probably Deianira, who appears to be connected with the group on the other side. No. 926 represents Penelope standing, holding in her left hand the distaff, and in her right a flower; before her stand a water-fowl and a young female, holding in her right hand a pyxis, and in her left a sash; on the reverse, is another female figure, with a distaff and a ball of wool. No. 929 represents a youthful warrior, probably Achilles,

bending forward to receive his armour from a female figure, probably his mother Thetis, who stands before him, holding his spear and Argolic buckler; he has already received from her his helmet, which he holds in his left hand by one of the check pieces, while, with his right, he appears to be attaching a diadem to it.

No. 934 has the design red on a black ground, and the accessories gilt and raised in relief. The subject is the Hyperborean Apollo riding on a gryphon, and holding in his left hand a branch of laurel, perhaps on his return from the Hyperboreans. Artemis is advancing to meet him; and behind Apollo is his mother Leto (Latona). No. 968, a shallow two-handled cup, with design red on a black ground, and the style very coarse. The chief subject is a naked youth about to run the lampadephoria, or torch-race, who is extending both hands to receive a torch from the Paidotribes. On the reverse is another youth with a quoit in his right hand, and inside the cup is a beardless figure standing with a thyrsus in his hand. No. 971, a shallow two-handled cup, has representations of different parts of the Pentathla. On the obverse, a wrestling match, in which a bearded figure is contending with a beardless youth; on the reverse, an armed foot-race, in which two figures, partially armed, are running, the one a little in advance of the other.

Nos. 971* and 971** have also subjects relating to the Pentathla. No. 979 is a shallow two-handled cup. Inside the cup is a representation of Orestes killing Clytemnæstra, who is seated on an altar, and stretches out her hands imploringly to avert the threatened blow.

No. 990 is chiefly remarkable for its shape, which is that of a lion's head. The lion's head, in which the cup terminates, is painted red, the features and hair picked out with black, white, and crimson. The subject represented is three youths beardless, and wearing wreaths and mantles.

No. 994 is an Amphora, design red on a black ground, representing Achilles playing on the chelys, in the presence of two Myrmidons.

No. 996 has on its obverse two Seileni playing at see-saw on a board balanced on a peg; they hold each other by the arms. On the reverse is a youthful male figure advancing his right arm as though pointing to the scene on the obverse. No. 998 is a curious fragment of a vase, with a representation of a portion of the figure of Pallas Athene, perhaps a copy of the celebrated Chrys-Elephantine statue of Pheidias. The helmet of the goddess has a nasal, cheekpieces, and back-piece; it is surmounted by a sphynx, out of which

the crest rises; over the forehead is a gryphon's head; in the centre of the ægis is a gorgon's head.

Nos. 999, 1000, 1001, and 1004 are curious for their shape. The first is in that of a female bust; the second in that of a gorgon's head; the third in that of a helmeted head; the fourth is that of a left leg and thigh.

VIII. Basilicata and Vases of a late Time.

In the Southern part of Italy, now called the Basilicata, a coarser style arose subsequent to the time of Alexander the Great, the extant specimens of which enable us to trace with considerable accuracy the progressive decline of art. In the style, which then began to prevail, we find clumsy, full forms, resembling those of the Flemish School of Painting, substituted for the graceful forms and proportions of the earlier Grecian style. The shapes of the vases themselves become less elegant; the figures lose distinctness of outline, and are crowded with details often carelessly designed, and an attempt is shown to give landscape distance and perspective, whereas, during the finest period, the figures are always in one plane as on the frieze of the Parthenon. The design of these later vases is drawn in red on a black ground, the inner markings of the figure are gradually less carefully indicated, and white and red colours are introduced in patches on the accessories, destroying the earlier monochrome simplicity of the painting. On the representations of Heroa we find examples of the Sepulchral Monuments of the period, arched tombs apparently situated on the slopes of mountains, and bearing much resemblance to those in Lycia; and within the tomb itself a statue of the Hero, or person commemorated. The Temples and the figures within them are painted white to represent marble; and the figures outside generally appear to be seated one above the other on the sides of hills. The decay of art during the later period is shown by the gradually prevailing practice of reproducing upon the vases subjects which could not be adequately represented upon them. Just as the artists of the Fifteenth Century, losing sight of the true limits of their several provinces, tried to introduce on glass, in the illuminations of MSS., and on the so-called Raffaelle-ware, those refinements of chiaroscuro and colour which do not admit of being transferred without detriment to a new material, so did the Greek vase painters attempt to adapt the elaborate compositions of great Masters like Apollodorus to the confined space and imperfect technical means at their command. The later vases found at Ruvo,