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prepared by Athenian maidens for the image of Athenè (compare p. 35).

Above Case E are also two vases, E 284 (subject, preparations for a sacrifice and dedication of tripods), and a jar (stamnos) acquired in 1898 from the Tyszkiewicz collection (subject, Heracles and a Centaur). Both are signed by an artist Polygnotos, who must not, however, be confused with the great painter thus named.

Table-case F. Athenian vases painted in outline on a white ground (compare above, p. 231). In the table-case the vases are

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all lekythi for use at the tombs. Among them the following are especially noteworthy :

D 62 (fig. 116). The formal laying out of the body of a dead youth. Three figures stand round making gestures of grief. From Eretria, whither this vase and others of the same kind are supposed to have been exported from Athens.

D 57 (fig. 116). A woman seated in a chair-very finely drawnand a companion with an ointment bottle. From Eretria.

D 54 (fig. 116). Two youths standing at a tomb. A little winged shade is seen flitting near the tomb.

D 61. Charon, who has pushed his boat to the bank among the reeds, conversing with a girl.

In the shades above are large lekythi and other select specimens of white ware. Among them are (in the near shade):

D 56. Two youths at a tomb, one of whom plays on a lyre. Within the tomb, or perhaps on its lower step, are several vases, a lyre, and a wreath. From Eretria.

In the central shade :

D 2. Cup, with Aphroditè riding on the flying swan (or perhaps rather a goose), with a curling tendril and flowers in her hand. The drawing is executed with great refinement and precision.

Cup (D 4), with the same white decoration as the foregoing, but of an earlier and more severe style of drawing. Athenè and Hephaestos are decking out the newly-made Pandora (here called in the inscription Anesidora).

In the further shade:

D70, D71. Large lekythi, with mourners at a tomb. Remarkable for the rich polychrome effects in black, green, blue, red, and yellow.

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Fig. 117.-Leto, Apollo, and Artemis. E 256.

D 58. A beautiful representation of a young warrior being laid in the tomb by Death and Sleep (Thanatos and Hypnos). The mythical prototype of the scene is in the Iliad (xvi.), where Sleep and Death carry Sarpedon to Lycia for burial (cf. the vase of Pamphaios, E 12, fig. 113); but, as used on a sepulchral lekythos, the subject may be supposed to have a general allegorical significance (cf. D 59, in another shade).

Pedestal 5. A bowl (lebes) in fine condition, with scenes of combat between Amazons and Attic heroes. This vase, which was at one time in the collection of Samuel Rogers, was acquired at the sale of the Forman collection in 1899.

Standard-case G. This case contains red-figure vases of the early fine style. The subjects are mainly mythological. Among them, E 440 has a curious representation of the Ship of Odysseus passing the Sirens. Odysseus is bound to the mast and rowed past the Sirens, two of whom are perched on rocks, while the third throws herself down.

Pedestal 6, Standard-case H. Large amphorae, etc., in the severe style, mainly with mythological subjects. See, for example,

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the large amphora E 256 (fig. 117), with Apollo standing, playing the lyre, between his mother, Leto, and his sister, Artemis.

In the upper part of Case H are several very choice vases of the later Attic school, showing the elaborate drawing, rich ornamentation with gilding, etc., and fanciful compositions, which we have already seen on the vase of Meidias (Pedestal 4).

See, for example, the circular casket (or pyxis) E 775. On the cover (fig. 118) the Theban Pentheus (?) is torn to pieces by the frenzied Maenads in the presence of Dionysos. Round the sides of the cover two winged Cupids are yoked to the car of Aphroditè.

See also the fine drawing and decoration of E 695, a noted aryballos with a Dionysiac (?) procession, in which the chief figure, probably Dionysos, rides on a Bactrian camel; and of E 698, with

Eudaimonia and other personifications, finely drawn in the style of Meidias.

Standard-case J. The upper shelf is occupied by select kylikes, all of them choice and important examples. Beginning from the gangway:

The kylix E 38 is signed by Python, as potter, and Epictetos, as artist. The principal scene shows Heracles slaying Busiris, a mythical king of Egypt who practised human sacrifice if strangers came to his shores.

E 41, signed by Chachrylion, shows Theseus meeting Ariadnè, and Theseus carrying off Antiopè.

E 44 is a well-known work of Euphronios. In the interior a man and hetaera converse. The most interesting of the external scenes shows Heracles bringing the boar of Erymanthos to his taskmaster, Eurystheus. The latter takes refuge in a great earthenware jar, half sunk in the ground, while Heracles is about to hurl the body of the beast upon him.

E 48. One of the chief works of Duris (cf. p. 230). Interior : Theseus killing the Minotaur. Exterior: Labours of Theseus.

E 65. Signed by Brygos. Interior: seated warrior and woman. Exterior drawings remarkable for vivacity and vigour, and also for their finish. (a) Iris, the divine messenger, is seized by Seileni of the following of Dionysos, who stands watching. (b) Hera is threatened by a mob of Seileni, and protected by Hermes and Heracles.

E 61. Kylix by Hieron.

E 68. Kylix, with symposium scenes.

The lower part of Case J contains a series of select vases of fine style. See especially E 466, Crater. Symbolical representation of the successive events of sunrise-namely, the moon setting behind a hill; Cephalos pursued by Aurora the Dawn; the stars plunging out of sight; the sun rising in his full glory.

Pedestal 8. E 469, Crater, in a highly ornate style. The principal subject is a Battle of Gods and Giants. Five pairs of combatants are fairly preserved, the gods being Dionysos, Athenè, Zeus, Hera, and Apollo. There are also traces of a missing pair, probably including Artemis. On the neck are, obv.: the mission of Triptolemos; rev.: a victorious lyre-player, in festal robe, standing on the musicians' platform, and greeted by two Victories.

Table-case K. Red-figure lekythi, mainly from Sicily. In form they resemble the white Athenian lekythi, but the subjects are taken largely from mythology or from life, and it is only occasionally that they can be definitely connected with the tomb.

Above this case in shades are:

The

E 84. Kylix, with the series of the labours of Theseus. nterior has a band round the central medallion, contrary to the usual custom, and by a curious caprice the artist has placed the same groups in a corresponding position on the outside of the vase. Sometimes the figure is repeated as if it were seen through glass,

and sometimes (as with Theseus attacking the sow) we see one side of his body on the interior, and the opposite side on the exterior.

Select drinking-cups and rhytons (drinking horns) modelled in peculiar forms. Among them are:

E 786 (fig. 119), Rhyton, modelled in the form of a Satyr's head and a Maenad's, placed back to back.

E 785. Seilenos, seated, supporting a horn, with a finely drawn procession of deities. The height of the horn has been reduced in such a way that the heads of the figures are lost.

A pair of lekythi shows, on the shoulder of one, Love flying with a gift, and on the shoulder of the other the recipient examining the gift.

[We turn to the wall-cases round the room.]

The vases in the wall-cases are arranged, generally speaking, so that the older Attic red-figured vases occupy the Cases 1-10, nearest to the Second Vase Room. The adjoining blocks, 11-16 and 55-60, are of a more transitional class, at the close of the sixth and beginning of the fifth centuries B.C. The two projecting central blocks, 17–24 and 47-54, contain Athenian vases of the finest style, dating from the middle of the fifth century. The cases at the South end of the room, Nos. 25-46, contain various groups of vases showing later developments of the Attic style.

The wall-cases round the Third Vase Room contain a great number of noteworthy vases, and it must suffice to call attention to a few of the most interesting specimens.

Fig. 119.-Rhyton. E 786.

Cases 1-5. Early examples of amphorae and hydriae, carrying on the tradition of the panel decoration shown in the Second Vase Room. Cases 6-10, vases for the most part of a smaller size, in the early red-figure style.

It will be observed that in this group the faces are nearly always in profile. The giant in E 165 (Case 2) and the Victory in E 513 (Case 4) are rare exceptions. The eye is generally a round pupil, in a full-face eye. The drapery consists largely of straight parallel lines.

Cases 11-16. In the upper shelves are a series of small kylikes, of transitional period, and of the same general character as those in the table-cases, etc., only not signed. In Case 15, E 86 shows a curious subject of a shoemaker, in his workshop, cutting a piece of leather.

In the transitional vases the eyeball begins to be drawn in profile; the face is seldom shown otherwise than in full profile.

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