by Vice-Consul Biliotti, partly at the expense of Professor Ruskin, who presented the objects thus obtained to the Museum. Vases of this class have been found at Mycenae, Menidi in Attica, Cyprus, Crete, and other islands. (See Mykenische Thongefässe, by Furtwaengler and Loeschcke.) The designs are derived from marine and vegetable forms, and from geometric patterns. Among them may be noticed two vases from Crete, the one ornamented with two figures of dolphins, and the other with, apparently, a marine product; a small cup with a band of swans above a band of fish; a rude figure of a biga with charioteer, two oxen, and a human figure resembling those found at Mycenae; three tall cups with design of cuttlefish, and a cup of the same shape from Kos, ornamented with the design of an aquatic plant; five vases with designs which appear to be derived from shells; a vase in the shape of a funnel with geometric patterns, similar to one found in excavations in Santorin. See Archives des Missions Scientifiques, 2nd sér. iv.: premier rapport sur une Mission Scientifique à l'île Santorin par M. F. Fouqué, p. 223.

Cases 14-21 contain vases, chiefly from Athens, ornamented with geometric patterns, alone, or in combination with figures of animals. Among them are: two amphorae ornamented with concentric circles, a design which occurs very frequently in the pottery of Cyprus; three small vases of this class, two of which are from Melos, the third from Athens; a small oinochoè with pattern of zig-zags from Melos; a small vase from Athens of the shape frequent in the pottery from Ialysos.

Cases 22-39 contain vases from Cyprus, ornamented chiefly with geometric patterns. Some of these vases are of plain clay, with slightly polished surface, and occasional mouldings; others have simple geometric patterns incised on the clay; and others are of a grotesque shape, and painted with geometric patterns. Among those of an early type are two shapes which recur at Ialysos. Another is a kylix with a frieze of deer, similar in style to vases from Kamiros. Another is a vase with three handles, having on the shoulders a pattern of spirals, which seems to be an earlier form of the pattern of concentric circles. Among the vases in which animal and human forms are introduced may be noticed an oinochoè with charioteer and bowman driving in a chariot, the design apparently copied from an Assyrian frieze. The rest of the collection from Cyprus consists of vases with geometric patterns, and occasionally floral ornaments; or of vases with geometric patterns on a red ground; among these may be noticed an oinochoè, on the front of which is a female figure partly modelled in the round, holding an oinochoè with her right hand, and the skirt of her dress with the left; a vase with mouth in the form of a female head; another with mouth in the form of a human head, having the chin pierced to form a strainer; a vase with the head of an ox projecting from the shoulder, and a phialè with two figures of goats. Cases 40-43 contain vases from Corinth, Corcyra, the Troad, and other Hellenic localities, with fragments of vases from Santorin, Sebastopol, Sardes and Moab. Among them are a small aryballos from Corinth,

ornamented with a female head, and inscribed with archaic Greek characters (Annali d. Inst. Arch. Rom. xxxiv. pl. a); a similar aryballos, also from Corinth, on which is a winged male figure moving rapidly to the right; a vase from Corinth with a frieze of lions attacking wild boars and goats, the rest of the vase covered with mæander and anthemion patterns, except near the mouth, where there is an ivy tendril in white on a black ground: this vase has three movable feet in form of claws; a vase in the form of a Siren, from Corcyra.

Cases 44-64 contain vases from Kamiros, in Rhodes, and from Nola, and other localities in Italy. In the designs on these vases we find friezes of animals with floral patterns, or the human figure combined with floral patterns and with animals, or floral patterns alone. Vases with geometric patterns are of rare occurrence. The smaller vases from Kamiros are frequently modelled in the form of helmeted heads, female busts and animals.

Table Case B contains various fictile specimens, chiefly from Kamiros, among which are: a terracotta coffin, on which are painted lions, a bull, and human heads; a series of plates with figures of animals, geometric and floral patterns, and human figures, and a series of aryballi in the form of animals, and other fantastic shapes. Among the plates are one with the design of Menelaos and Hektor fighting over the body of Euphorbos, whose names are severally inscribed on the vase (Salzmann, Nécropole de Camiros, pl. 53); another plate has the design of a Gorgon carrying a swan in each hand; another has a Gorgon's head surrounded by a frieze, in which is a Siren between two male Sphinxes, lions and goat.

Table Case C contains archaic terracottas and figures in calcareous stone from Kamiros, terracottas from Tegea, in Arcadia, and marble figures of the class found in the Greek islands, and believed to be the work of a primitive population such as the Karians. The stone figures in this Case are of a Phoenician type, and in this respect, as well as in material, they may be compared with the figures found in large numbers in Cyprus.

On Table Case Cis an oinochoè said to be from Santorin, with the mouth in the form of a Gryphon's head, and with the design of a dog devouring a deer; the rest of the vase is ornamented with geometric patterns.

Table Case A contains vases of variegated glass, alabaster, and porcelain, objects in porcelain, ivory or bone, steatite, carnelian and rock crystal, from Kamiros and Ialysos, in Rhodes. The objects in porcelain have an Egyptian character, with occasionally hieroglyphic inscriptions, more or less blundered; among them is a small vase in the form of a dolphin, with the name of the dedicator or owner, Pythes, inscribed in archaic Greek letters on its lip. Among the objects in opaque variegated glass from Ialysos are beads, rosettes, and oblong ornaments, pierced for attachment, probably, to a dress, in imitation of ornaments in gold. Objects of the same material, shape, and design were found in the vaulted tomb at Menidi in Attica (Lolling, Das Kuppelgrab bei Menidi, pls. 3-5). In the same Table Case is a shell (Tridacna squamosa), ornamented with a female head, and with

an incised design. This shell is from a tomb at Canino in Etruria. Beside it is a fragment of a similar shell found at Kamiros, in Rhodes.

On Table Case A are three vases of the shape called kernos, each composed of a cluster of vases, the patterns on which resemble those of the alabasti of variegated glass in the case beneath. Two of these vases are from Melos.

In the East side of the room are a lebes from Athens, with two lions standing confronted, the field of the vase filled in with geometric patterns: two large vases (pithi). The one, from Ialysos, is ornamented with geometric patterns moulded in the clay; the other, from Kamiros, has geometric patterns pressed from a stamp. In both vases the decoration is only on the front.

In the West side of the Room are a lebes with two zones of animals, from Kamiros and an amphora with Centaur, horsemen, warriors, male and female tigers, and animals.

SECOND VASE ROOM.

In this Room are arranged the vases of a later or transition period, ranging probably from B.C. 500 to B.C. 440; also a selection of terra-cotta figures of about the same date, mostly from Kamiros in Rhodes, Athens, and Melos. On the vases in this room the human figure has become the principal element in the design, and new technical processes have been introduced. Though found for the most part in Etruscan tombs, the vases in this room are, with a few exceptions, of Greek design and fabric. They may be divided into the following classes:

I. Amphorae (chiefly in the Detached Cases), on which the design is painted in black on a red ground, the inner markings, and frequently the outline of the figures, incised, the details picked out with white and crimson colours; the red ground is prepared by (a glaze painted over the clay; white colour is constantly employed for the faces and arms of female figures, while the head itself is drawn in profile, the eye is rendered as in full face. The subjects represented are mostly from the Greek legends, the labours of Herakles being of frequent occurrence, also scenes from the Trojan war; subjects relating to the Gods are less common. Among them may be noticed the amphora from Vulci, on Detached Case D, with the representation of the birth of Athena from the head of Zeus, and, on the obverse, warriors setting out for battle. Of a later and, apparently, imitative style is the amphora on Detached Case C, bearing the name of the potter Exekias. On the obverse is Achilles slaying Penthesilea; on the reverse Dionysos and Oinopion.

II. Amphorae (in the Wall Cases), on which the subjects and the manner of rendering the figures is in general the same as in Class I.;

but the design is limited to an oblong red panel on each side of the vase, the rest of which is painted with a black varnish; white and crimson colours are less frequently employed for details; the vases are often larger and heavier in form than in Class I.

III. Hydriae (in the Wall Cases), with designs occupying only the front of the vase, the rest of it being painted with a black varnish as in Class II. The principal design is placed on the body of the vase, a narrower design on the shoulder; among the subjects are several representing female figures drawing water at fountains in hydriae; such scenes illustrate the daily use of vases of this kind. The labours of Herakles, and other heroic legends are also frequent.

IV. Vases obtained as prizes in the Panathenaic games at Athens (in Detached Case A). On these Panathenaic amphorae the figures are painted in black on a red panel marked out on each side. On the obverse is a figure of Athenè between two columns, probably to indicate the scene of the contests; on the reverse are represented boxing, the foot-race, leaping with halteres in the hands, throwing the disk and the spear, the horse race, the race of quadrigae, in which the charioteer stands in the chariot; and the race of bigae, in which the driver sits with his feet resting on a foot board. Of this class is the Panathenaic amphora, known as the Burgon vase, on Detached Case E. It was found by Mr. T. Burgon at Athens. On the obverse is a figure of Athenè, and an inscription stating the vase to have been a prize from the games at Athens; on the reverse is the biga race.

V. Vases with black figures on a white or cream-coloured ground (in Wall Cases on the East side of the room); the inner markings of the figures, and parts of the outlines, are incised; crimson colour is employed for details. Among these are an oinochoè from Vulci, with design of Peleus confiding the young Achilles to the Centaur Cheiron to be trained by him; another oinochoè with Herakles overpowering the Nemean lion, in presence of Athena and Iolaos; a small lekythos, subject, Hermes holding a balance, in the scales of which are the souls of the two warriors engaged in combat on the vase; an oinochoè ornamented with vine tendrils and inscribed with the potter's name (Charinos).

VI. A series of cups (kylikes), some with designs, either encircling the lip on a narrow band, or extending along a lower band on both sides of the vase (on Detached Cases B, C, D). The ground of the vase is red; the figures are painted in black, with the inner markings incised, and with accessories of crimson. The inscriptions on these vases are sometimes meaningless; others consist of drinking toasts, or the name of the artist.

VII. A few of the vases in this Room are of Etruscan fabric in imitation of early Greek vases, with black figures on red ground, and the design sometimes arranged in parallel bands; these designs are rude in execution, and represent battle scenes, athletic exercises, Centaurs with human forelegs, animals, and grotesque figures.

VIII. Vases of a later period, with red figures on a black ground, but in a severe style of drawing, and probably of a date contemporary

with the later examples of vases with black figures on a red ground (in Wall Cases and in Detached Cases in the East side of the room). Among them are a series of cups (kylikes), with designs very beautiful in the composition and the drawing; some of them are inscribed with the names of the painters. On Detached Case B is an example of the transition from the earlier to the later style. On the obverse is a desigu in black, with Achilles and Ajax playing at dice: and on the reverse a design in red, with Herakles overpowering the Nemean lion, in presence of Athenè and Iolaos.

În the East side of the room is a lebes, with a banquet scene and a row of animals.

In Wall Cases on the East side of the room are a series of terracottas, consisting mostly of female figures, but partly also of vases (alabasti) in the form of female figures, Sirens, grotesque figures, heads of animals, and other shapes. Among the vases of this class from Kamiros are an alabastos in the form of a female figure holding a dove at her breast; two alabasti having the upper part formed of the bust of a similar female figure holding a dove at her breast; a similar alabastos from Italy. A female figure similar in type, but holding a hare at her breast, occurs among the statuettes from Kamiros; its colours, red and green, are well preserved. Among the other statuettes are a series of rude figures from Sardinia, Hermes Kriophoros from Sicily, and a number of female figures from Kamiros, draped and seated on chairs, with their hands on their knees.

THIRD VASE ROOM.

In this room are placed: I. Vases with red figures on a black ground, dating from about B.C. 440 to B.C. 336. In this class of Fictile Ware the body of the vase is painted with black lustrous varnish, the outlines of the figures having been first roughly marked out on the clay, and then more carefully finished after the black background had been filled in. The details of the costume and the inner markings of the anatomy are represented by black lines, strong or faint, as may be required. The compositions of this period are characterised by great simplicity, and are adjusted to the shape of the vase with greater skill than in the earlier or later periods.

Subjects taken from myths relating to the Gods are more frequent than in the earlier period. Among the best examples of this class are the tall amphorae, the designs on which consist of one figure on each side, or, at the most, of only two or three figures, as in Case H, and on Table Case F. On this Table Case are an amphora with a group on the obverse representing the poet Mousaios and the Muses Terpsichore and Meledosa; this vase bears the name of its painter, Poly