tion in early art, whereby the artist attempts to give both sides of an object.

Case 60. Small terracotta sarcophagus from Cameiros, painted in the style of the Rhodian vases. The subjects consist of an ox between two lions, two helmeted heads, cable borders and lions.

The two standing cases contain the cover and the body of a large terracotta sarcophagus * from Clazomenae (fig. 100, a and b).

* Illustrated and described by A. S. Murray, Terracotta Sarcophagi, Greek and Etruscan, in the British Museum, 1898 (28s.).

The sarcophagus is richly adorned, both within and without, with geometric patterns and figure-subjects. On the cover arelong side (A), three friezes: (1) Odysseus and Diomede are slaying Dolon, in the middle. On each side of the central group are three two-horse racing-chariots approaching the centre. (2) Sphinxes and Sirens. (3) Combat between Greeks on foot and mounted barbarians, probably raiding Cimmerians. Long side (B), three friezes: (1) In the middle, a combat over a fallen warrior. On each side, stationary chariots. A warrior mounting one of the chariots seems to be leading a female captive by the wrist. (2) Animals. (3) Combat of figures on foot. End (A), two horsemen and two figures on each side of a central column. End (B), two Centaurs and two Sphinxes on each side of an Ionic column. On under side of cover: two pairs of Sphinxes; two scenes of the slaying of Dolon; combat of chariots and footmen.

On the body of the sarcophagus are: interior, long sides, scenes of preparation for chariot races, and other sports held as funeral games. In the middle a boy playing on double pipes is significant as showing that the scene is one of games and not of war. sides armed warriors, horses and dogs.

Short

On the upper margin of the body are a series of chariot races. At each end of the long bands is a caldron on a column, presumably a prize vase. The figure beside the column may be the shade of the deceased person in whose honour the games are held.

Its

This sarcophagus, with its long multitudinous friezes, is a characteristic example of the early art of Ionian Asia Minor. date is probably the middle of the sixth century B.C.

Cases 62-64. A collection of objects in glazed faience ware (sometimes incorrectly called 'porcelain), of all periods.

Table-case E contains smaller objects, of the period of strong. Oriental influence, that is, about the seventh century B.C. The objects in question consist of vases of variegated glass and alabaster; objects in ivory and bone; and especially of vases, statuettes, scarabs, etc., in faience. The latter have a strongly-marked Egyptian character. They reproduce Egyptian forms of decoration, Egyptian types of deities, and Egyptian hieroglyphics. These, however, are usually more or less blundered and unintelligently rendered, and the faience wares found in non-Egyptian sites are therefore for the most part imitations and not genuine Egyptian products. A faience vase (A 1184) from Cameiros, with hieroglyphic new year greetings, should be compared with the similar vases from the Polledrara tomb (p. 173).

This table-case also contains (186) a Phoenician bronze bowl, with subjects incised. In the centre is an Egyptian type of a king seizing his enemies and slaying them with a mace in the presence of the god Menthu-Ra. Round the margin is a semi-Egyptian rendering of a banquet scene. From Cyprus.

Objects of the class here represented are usually found in Mediterranean sites, to which the Phoenicians had ready access,

such as Rhodes and Cyprus, and also in Sardinia and Etruria. They were also found, however, at Naucratis in Egypt, with moulds for the manufacture of scarabs, and in part at least they may therefore be attributed to that town. The theory of a Greek source is confirmed by the faience vase in form of a dolphin, which has the name of Pythes inscribed in archaic Greek characters round the lip.

In the same table-case is a shell (Tridacna squamosa) ornamented with a female head, and with an incised design of winged Sphinxes, probably of Phoenician origin. This shell is from a tomb at Canino in Etruria. Beside it is a fragment of a similar shell found at Cameiros in Rhodes; other fragments found at Naucratis, on the site of the Temple of Apollo, are in the same case.

Above Table-case E are:

Two shades with select objects in glass and faience.

THE SECOND VASE ROOM.* SUBJECT:—CORINTHIAN AND OTHER EARLY WARES, BLACK-FIGURE VASES, ETC., OF THE SIXTH CENTURY B.C.

The majority of the vases in this room belong to the Blackfigured class, and the remainder are of an allied character. In the two subsequent rooms the majority of the vases are Redfigured. The meaning of this fundamental distinction is illustrated by the annexed cut (fig. 101) after a part of a vase (at Palermo) by the painter Andokides, who has combined the two styles by caprice. It is apparent that on the right side of the illustration the figure is drawn in black on the coloured ground and relieved with lines incised in the black. On the left hand the figure is left in the ground colour of the vase, while the varnish covers the background. The interior lines are drawn in the black. The two styles may be compared to a negative and positive in photography.

In the Second Vase Room we see the art of vase-painting carried on almost independently in various local potteries, all of which are after a time overpowered by the growing skill and popularity of the black-figure pottery of Athens, and only continue to exist for strictly local purposes.

The non-Attic groups occupy the Wall-cases 1-17 and 52-64 at the north end of the room (adjoining the First Vase Room), together

* Described in the Catalogue of Vases, Vol. I., Part I. (forthcoming) and Vol. II., by H. B. Walters, 1893 (24s.). A copy can be borrowed from the commissionaire.

the Attic group.

with Table-case L, while the remainder of the room is occupied by
We deal first with the non-Attic wares.
Wall-cases 1-3. (Cf. also shade on Case L.)
Proto-Corinthian vases.

The so-called
This group is marked by a certain amount

of simple geometrical ornament, combined with bands of animals, etc., and by a sparing use of the rosette and other ornaments, that are so abundant on the Corinthian fabrics.

Cases 4-11. Vases of the Corinthian style, chiefly obtained from Corinth and Rhodes (fig. 102). The Corinthian vases are

marked by profuse ornamentation, consisting of bands of real and fabulous animals, such as lions, panthers, oxen, Sphinxes, Gryphons, etc., and having rosettes, flowers, etc., sown in extraordinary abundance in every vacant space in the field. Fantastic combinations

also occur, such as winged and snake-legged monsters. figures and mythological subjects are comparatively rare.

Human

The subjects are usually painted in black and purple on a yellow ground. It will be observed that the outlines and details are emphasized or defined, with incised lines drawn in the coloured varnish and the surface of the clay with a sharp point. This method is fully developed in the Corinthian style. It afterwards became of great importance throughout the period of the black-figure vases, and did not cease to be used until after the introduction of the red-figure style (Third Vase Room).

Cases 12-15. Transitional vases painted in the style called Later Corinthian. We have seen that the Corinthian vases are marked by a preference for animals, wild or fabulous, with flowers, rosettes, etc., filling all vacant spaces. Here in the Later Corinthian style, the rosettes and other accessories tend to disappear, and definite figure-subjects are introduced, consisting principally of scenes of combat, with occasional use of mythological subjects.

Cases 16-17 contain Chalcidian and early Attic fabrics of a similar style. The Chalcidian group, to which B 75, 76 belong, is a small class, which is assigned to Chalcis (in Euboea), on account of the forms of the letters used in the inscriptions, but has not as yet been found on that site. It is also marked by the peculiar borders of lotus buds and flowers, and by the forms of the handles, neck, and foot, which are those of metal work, rather than of pottery.

[We cross to the opposite side of the room, and begin next the door to the First Vase Room.]

Case L (shade). Smaller vases, imitating the forms of objects, such as seated figures, heads, busts, birds, etc. These examples were for the most part found in Rhodes, but with them are grouped similar vases found elsewhere.

Four small lekythi at the end next to the gangway belong to the class of Proto-Corinthian' vases described above.

The finest of these is a lekythos of great delicacy and beauty, presented by the late Malcolm Macmillan. The upper part of the vase is in the form of a lion's head, with open mouth. At the junction of the handle with the head is a minute Gorgon's mask. Round the body of the vase are three friezes: (1) Eighteen spearmen in combat, each with a device upon his shield; (2) Race of six horses; (3) Man and dogs hunting a hare. This lekythos is unrivalled for the extraordinary minuteness of its decoration.

Case L and Wall-cases 62-64. Vases from Cameiros in Rhodes, including jugs (oinochoae), plates (pinakes), and cups (kylikes) (fig. 103). The decoration consists partly of bands of animals and interspersed ornaments, such as those already described, and partly of mythological subjects. Among the most interesting

are:

(1.) Plate, with a Gorgon of Asiatic form. She has the pro