vases, mostly of the askos shape (numbered G 27-86). The body of these vases is in the shape of a lamp, but they have spouts, and were probably used as lamp-feeders. On the top

is a moulded relief-generally only a mask of Dionysus or a Gorgon's head. A few other subjects may be noticed :——

G 42 (reproduced at p. 108 of the Catalogue of Greek Sculpture, vol. i.).-Dionysus seated on a rock; a figure which slightly resembles the attitude of "Theseus" on the Parthenon.

G 48.-Orestes at Delphi. He defends himself with a sword against a snake which darts out upon him, perhaps indicating the presence of an Erinnys. His left arm is placed round the omphalos, which is covered with fillets (Cat. of Vases, iv. 245).

G 51. Eos in a chariot rushing out of the waves.

(2) A more interesting class of vases, here represented by a few perfect specimens and many fragments, is represented by the numbers G 96-117. These are bowls called Megarian, because they have mostly been found at Megara, thus showing that in Greece, as in South Italy, the tendency of the time was to supplant painted vases by inoulded. "A red clay is employed in their production, which, by means of firing at an excessive heat or the application of black varnish, often assumes a black quasi-metallic appearance." Reliefs are stamped or moulded round the outside, the subjects being mostly scenes in the Trojan war, from the dramas of Euripides and other sources. In this connection reference has been made to the

story told of Nero by Suetonius. On the day preceding his murder and in surprise at the news of the revolt of the army, which had been brought to him at dinner, he upset a table with two favourite bowls, which he called Homeric because of the subjects embossed upon them. It is suggested that they must have been of this kind; hence the "Megarian" bowls are sometimes called "Homeric." The most interesting of the bowls here are G 103 (Hercules with Augè on his knee, see Pausanias, viii. 4. 6), and G 104 and 105. Both of these latter are, curiously enough, illustrations of the same play by Euripides-the Phænissa. For the interpretation of G 105 see Classical Review, ii. 327. The scenes depicted on G 104 illustrate Euripides' version of the Theban story as told in the Phænissa, and the vase itself is said to have come from Thebes. The scholar will find it interesting to make out the passages from the play illustrated on the vase; they are set forth in the Classical Review, viii. 325. But the general visitor will

probably be content to take the statement on trust, especially as the artistic merit of the vase is very small. The treatment of the drapery is of the rudest kind, and the modelling is confused: Antigone, for instance, "might but for the inscription well be taken for a bearded man" (Cl. Rev.). Another vase of the same kind has been found which illustrates the Iphigenia in Aulis. The number of vases of the later time which refer to plays by Euripides is a striking proof of the popularity which that dramatist enjoyed throughout the Greek world in the third century.

(3) A third group of specimens (G 118-150) are dishes called Calenian, because mostly found at Cales. They are like the Megarian bowls, but are shallower; and the reliefs, instead of being round the outside, are medallions in the centre or friezes round the interior. The subjects on the fragments are often repeated, showing that the same moulds were used many times over. The most interesting specimens in the Museum are G 118 and 119. These are duplicates from the same mould (G 119 being the less sharply executed). In the collection of ancient silver, there are two silver dishes, embossed with almost identical patterns (see p. 596). The subject is the apotheosis of Hercules in four groups, each with a Victory driving a chariot (for a further description, see Murray's Archæology, p. 108). The close resemblance of the silver dishes confirms the general belief that the black ware before us had been a substitute among poorer people for the vases of silver which only wealthy men could possess. In this connection the saucers numbered G 121, 122 are very interesting. They are ornamented with medallions which are impressions of famous Syracusan coins, the decadrachms with the head of Persephonè. It is suggested that these saucers were imitations of silver ones, in which an actual silver coin was inset. On some of the pieces in this case there are the names of Roman potters or Roman owners (e.g. G 127 is inscribed C. Atilius and G 132 C. Gabinius); and on one fragment (G 125) there is a representation of the wolf suckling Romulus and Remus.

These vases, therefore, probably date from about 200 B.C., and were continued in use down to imperial times, when they were superseded by the red moulded ware known as Samian (see Ch. XXVIII.).

Pedestal XII.-A Trojan Vase (F 278)

This crater, from Apulia, is the largest in the collection; in that respect as in others it is characteristic of the vases of the decadence. It is richly coloured. It is covered with decoration of one kind or another from head to foot; notice that even below the Gorgons on the handles there are decorative figures. It is also essentially theatrical in effect. The architectural arrangement, with a statue in the centre; the elaborately embroidered draperies, the gorgeous tiaras, the dramatic action: all these things reflect the influence of the theatrical representations of the time. The body of the vase is divided by a rich band. The principal subjects both above and below are taken from the tale of Troy. Above there are two groups: on the left Ajax and Cassandra, the daughter of King Priam; she has fallen at the feet of the statue of Athena, to whom she appeals with outstretched arms. On the right King Menelaus of Sparta encounters his wife, the beautiful Helen, whose elopement with Paris had caused the war. Helen escapes his wrath,

and grasps the statue of Aphroditè. Below there are again two groups. On the left the aged queen, Hecuba, wards off a blow aimed at her by a Greek. On the right the death of King Priam. He kneels at a statue of Zeus, and endeavours to thrust off Neoptolemus, the son of Achilles, who is thus avenging his father's death. The gods on Mount Olympus are seated above.

Pedestal XIII.-A Trojan Vase (F 160)

This crater, in the Lucanian style, also has scenes from the capture of Troy. There is a good deal of grace and even of expression in the drawing. In the centre is the altar of Athena. Ajax is about to seize Cassandra; the vase from which she has vainly poured a libation to the goddess lies fallen beneath the altar. To the left is her sister Polyxena, who has fallen at the feet of the statue. Odysseus stretches out his hand towards her. Queen Hecuba retreats in terror. Above her, a line of dots indicates a distant eminence, and here we see the aged Anchises escaping with his grandson, Ascanius, the son of Æneas, and the supposed ancestor of the Roman people; the child looks up wonderingly at his grandfather who, with tottering steps and leaning on his staff,

leads him away. A tree laden with fruit divides the group from the rest of the subject. Beyond the tree is a beautiful representation of Athena seated. The protectress of the Greeks, she appears unmoved by the sufferings of the Trojans, and rests triumphant at the conclusion of the war. A column behind her representing the temple is decorated with beads. On the reverse of the vase is the departure of a warrior; this group also contains some very graceful figures.

Pedestal XIV.--The Phædra Vase (F 272)

On this Apulian crater there is a double row of scenes on each side. On the upper scene of the side fronting us, the subject is supposed to be the love-sickness of Phædra, as described by Euripides in the Hippolytus (cf. the mirror-case in the Bronze Room, No. 289, p. 445). Phædra sits on a stool to the right, and leans forward, with head drooped to one side, clasping her right knee thrown over the other. A servant, with troubled air, stands behind. An Eros, with immense wings, flies towards her. The other figures are presumably also attendants. (For a discussion of this vase in relation to Euripides, see J. H. Huddilston's Greek Tragedy in the Light of Vase-Paintings, pp. 102-107.) The subject below is the familiar rape of the brides by the Centaurs at the wedding-feast of Perithous, king of the Lapitha. Rich colours and ornaments are employed to enhance the scene. Notice the wine pail which has fallen on the ground during the disturbance. On the reverse is a Dionysiac group in two

rows.

Case F.-Kraters (mixing bowls), chiefly of Athenian fabric, from South Italy: fourth century.-The following designs are noticeable :

F 69.-On one side Thetis and the Nereids conveying the armour of Achilles across the sea, indicated by an irregular line of wave pattern, above which are four prickly white fish, swimming, and white strokes representing spray.

F 59. A torch-race: see the Tyszkiewicz vase, p. 383.

F 66.-Victory leads a bull to the altar, placing a wreath on its head. The priest raises his knife to slay the victim. Behind stands a maiden carrying vessels, resembling those which are carried before the victims in the Parthenon frieze (see Murray's Greek Sculpture, ii. 23). The drawing and composition on this vase are worthy of notice.

F 492.-A curious design. Twelve female heads in profile; below, nine more heads. Perhaps a group of family portraits. The design recalls a picture of a similar subject in the National Gallery: No. 779, by Ambrogio Borgognone.

We now proceed to examine the wall-cases, beginning on the north side of the door from the Third Vase Room.

Cases 1-5.-Greek vases made at Athens or in South Italy (420-350 B.C.), including several moulded in the form of human figures or divinities. Among this latter class is one of the most beautiful of all the minor antiquities in the Museum:-

E 716.-Cup moulded in the form of the head of Athena. This vase is distinguished by that grand style which we see not only on statues and bas-reliefs but on some of the mirror-cases, terra-cottas, and coins. Mr. Cecil Smith, from whose description I quote below, sees in it a free rendering of a Phidian original, made at Athens about 430 B.C. It offers in its colouring an interesting and beautiful illustration in miniature of the general effect produced by statues in ivory and gold

:

"The vase is modelled entirely in the round, and the modelling is fresh and crisp. The treatment of the hair is highly plastic and original. Starting from each side of a central parting, this falls around the face in a series of wavy twisted ringlets, each one of which is separately modelled and terminates in a projecting point worked almost entirely in the round; these locks entirely obscure the ears, and hang on each side of the neck down to the shoulders. The whole effect is that of a mass of twisting snakes, of which the flow and movement serve as a striking foil to the dignified and almost dreamy repose of the goddess's features. The general aspect, before the colours had faded, of this calm ivory face against the background of rebellious locks bordered by the shell-like vermilion edge of the hood, must have produced a charming combination of effect. The characteristic snaky treatment of the hair, which in male heads may be compared with the portrait bust of Pericles, is rarely found on female heads the nearest analogy is perhaps the beautiful series of Syracusan coins, especially the tetradrachm (see III. C. 31, p. 522) by Eukleides" (J.H.S. xv. 184). These coins were, as Furtwängler has shown (Masterpieces, p. 107), of Attic-Phidian origin. On coins, vases, terra-cottas, and bronzes alike, the Phidian ideal may be seen. "The great creations of the brilliant Attic period are like suns, each the centre of a multitude of smaller stars, on which they pour light and life. The art of Athens in the fifth century was as far-reaching and widespread as her empire." A photogravure of this vase forms the frontispiece to Mr. Lang's translation of the Homeric Hymns.

G I. This choice and bizarre wine-jug was found in one of the tombs of Vulci. It has a double handle, the lower one for pouring,