xiv. and xv.): we behold him standing near the tomb of his father Agamemnon, at the foot of which sits Electra, his sister, with whom he proceeds to concert measures for the punishment of Clytemnestra and Ægisthus, who had usurped the throne ;—and (Pl. xv.) represents probably the marriage of this usurper with the wicked mother of Orestes; for a male figure bearing the name of ΑΙΓΙΣΤΟΣ holds by the hand a female entitled ΚΛΥΤΕΜΝΕΣTPA, who wears a radiated crown, whilst another female seems to offer such a box or casket as usually contained the nuptial presents. (Pl.xvi.) from a vase in the Royal Museum at Naples, relates to the same subject: Electra appears sitting on the step of a sepulchral monument, in an attitude expressing grief; her brother Orestes is near to her on one side, and on the other his friend Pylades.-The subject of (Pl. xvii.), Mr. M. thinks, may have been taken from the Tragedy of Troilus, composed by Sophocles, but now lost. In this painting we see some Trojan women making libations and offerings at the tomb of Troilus, whose name is written on a column. He was the son of Priam, and, although mentioned but once by Homer, (II. xxiv. 257.) is celebrated in the work of Dares Phrygius as a most valiant hero, who, on the death of Hector, commanded the Trojan army and killed many Greeks with his own hand; he was slain at last by Achilles. The vase exhibiting this picture is the only monument hitherto known that celebrates the memory of Troilus.(Pl. xviii.) Here, on a cippus, we perceive the name POINIE ; by the side of this monument sits a young man seemingly engaged in conversation with a woman, who holds a casket of offerings to be placed on the cippus. Many personages in the heroic ages bore the name of Phoenix; Mr. M. thinks it most probable that he to whom this painting refers, was the son of king Amyntor, and, together with Chiron, the preceptor of Achilles. In (Pl. xix.) is represented a sepulchral monument resembling a small temple, containing the figure of a warrior, the deceased, whose buckler and xvides are suspended from the wall; a. woman and a young man bring offerings to the tomb.-On a vase painted at least four hundred years before the Christian era, are two subjects, (Pls. xx. and xxi.) The first relates to a circumstance in the famous war of the seven chiefs against Thebes. We see Amphiaraus with his shield, helmet and two lances, and his Squire Baton, in a chariot drawn by four horses: a female figure precedes them, which appears to be Eriphyle, the wife of Amphiaraus. The second picture represents also a quadriga with two warriors, whom we may suppose Amphilochus and Alcmaon, the sons of Amphiaraus: a woman likewise precedes

the car, and an inscription EPITAE shows her to be their mother Eriphyle. Mr. M. observes that there is some uncertainty respecting the two male figures, which may be Adrastus and Polynices. (Pl. xxii.) alludes probably to an event mentioned only by the scholiast on Euripides, (Phoenissæ, v. 53.) yet of some celebrity as it has afforded a subject for pictures on many vases: Tydeus appears ready to kill Ismene, near the fountain which afterwards bore her name. (Pl. xxiii.) is from a vase in the Vatican Museum; it was published by Passeri, (Pict. in Vasc. Tom. 111. Pl. cclxxx.) who pronounced its subject to be the Apotheosis of Hercules and Hebe. The ingenious Abbé Lanzi, not satisfied with this explanation, proposed another; regarding it as a scene from the Heraclides of Euripides. But our learned author with much diffidence states his reasons for supposing it to represent Edipus at Colonos, with his daughter Antigone, Theseus, a fury, and other figures. On the reverse of this vase we find a very different subject, (Pl. xxiv.) Bacchus holding a vessel called cantharus, into which a young Satyr pours wine; there are also Menades or Bacchantes, &c.-(Pl. xxv.) Jupiter under the form of a bull carries off Europa, whilst Neptune seems to favor his brother's enterprise, by calming the waves.(Pl. xxvi.) represents young persons who, under the influence of a winged Love and of Venus, seem disposed to indulge in amorous dalliance. From employing their pencils on scenes of this kind, some ancient artists celebrated by Athenæus acquired the title of Pornographs, or painters of courtesans.(Pl. xxvii.) exhibits the combat between Hercules and Geryon, who does not appear with three bodies, as generally described, but with three heads, such as Hesiod mentions (Theogon. v. 287.) Minerva encourages Hercules, and Mercury attends, holding an olive-branch, -In (Pl. xxviii.) Busiris, king of Egypt, having made preparations for killing Hercules, according to his annual custom of sacrificing a stranger, is here seen on the point of perishing by the hand of that hero, who, escaping from the slaves who had led him to the altar, attacks the tyrant with his ponderous club. Two women, of whom one plays on a double flute, the other holds a vase and a basket, appear as assistants at the intended sacrifice. (Pls. xxix. and xxx.) relate to Apollo, who in the former is seen richly habited, and playing on the lyre; near him is a female engaged in divination by means of some small objects, shells, flints, or pieces of clay thrown on the ground; she may be supposed a priestess; and a young man on the other side of Apollo has perhaps come to consult the divinity at Delphos. On the reverse of this vase Hercules appears carry

ing off the sacred tripod of the Delphic Oracle, and Apollo, holding a branch of laurel, endeavours to regain it, while the Pythian priestess Xenoclea, terrified at the dispute, waits to see the result from a window of her dwelling.(Pl. xxxi.), a vase of considerable antiquity in the Royal Museum at Naples, represents the contest between Hercules and Eryx; as on most occasions Minerva and Mercury attend the Grecian hero. This subject has not hitherto been discovered on any other monument. ~(Pl. xxxii.) also exhibits a subject for the first time-Hercules struggling with Nereus, who had assumed the form of halfman, half-fish.-In (Pl. xxxiii.) Hercules appears wielding his club against the Centaur Dexamenus, whose name is written in the boustrophedon manner: Dejanira and Œneus also are seen; and the difficulties of this subject are happily removed by a passage which our ingenious author has discovered in the Scholiast of Callimachus, on the following line:

Βουρά τε, Δεξαμενοῖο βοόστασις Οἰνιάδαο. Hymn. in Del. v. 102. -The same vase, on its reverse, (Pl. xxxiv.) offers a scene from civil life; a man of middle age seems listening to the animated conversation of two women: the name ΠΥΛΑΔΕΣ is inscribed over his head, and refers, in Mr. M.'s opinion, to the person for whom this vase was destined. (Pl. xxxv.) shows Hercules awaking from his slumbers, and four Satyrs or Cercopians who during the hero's sleep had stolen his bow, his quiver, and club, and are now seen running off much alarmed.(Pls. xxxvi, xxxvii, and xxxviii.) are from a most beautiful and valuable vase in the collection of Prince Torrella at Naples. Its principal face represents the Apotheosis of Hercules, who is introduced among the gods by Minerva; this goddess brings him in her car drawn by four magnificent horses. The reverse of this painting exhibits a combat of Amazons, with some warriors; and the vase, round its neck, is ornamented with Dionysiac figures of young men dancing to the sounds of a double flute, on which a woman plays. We see also a woman offering wine to two war riors, and a young man who brings a vessel containing probably oil or perfumes used on coming from the bath.-In (Pl. xxxix.) a female elegantly attired is seated on the steps of a sepulchral monument, attended by an old woman, such as we may suppose the nurses who generally accompanied young princesses on the ancient Greek stage; another woman brings a perfume-vessel, a garland, and a basket. The reverse (Pl. xl.) exhibits a man crowned with myrtle, who presents a cup or patera to a female richly dressed. These paintings do not offer any circumstance sufficiently marked to authorise conjectural explanation.-In

(Pl. xli.) we behold Venus beautifully clothed with garments which she had received from the Hours, and resplendent with golden ornaments, whence Homer (Hymn. in Vener.) styles her Αφροδίτη πολύχρυσος, χρυσέη, and χρυσοστέφανος. Love crowned with myrtle, and winged, stands near his. mother; and a young woman propitiates the goddess by offering incense on a little altar.-Paris and Helen are easily recognised in (Pl. xlii.): the scene is Menelaus's palace; Helen caresses a winged child, Love or Desire, whom she, sitting, holds upon her knees; while Paris, splendidly dressed, stands before her.-The subject of (Pl. xliii.) has been already published, but incorrectly, by D'Hancarville, and previously by Passeri. But Mr. M. gives an accurate delineation and a new explanation of it. Instead of an allusion to the story of Telephus, as supposed by D'Hancarville, he discovers a scene on Mount Ida, where Paris appears, with Venus leaning on a column; the god Pan, a Satyr, a winged Love, and a woman (either none or Helen,) fill up this interesting composition.-(Pl. xliv.), from a vase found at Athens, represents seven figures, forming a nuptial procession, in which Apollo is seen with a branch of laurel, and Diana with her bow and quiver.-(Pl. xlv.) shows a young man seated, who holds in one hand the triangular harp called sambuca, and with the other a little bird fastened by a string: near him is a woman bringing a vase, a half-open box, and a diadem or ornament for the head; a winged Hermaphrodite genius places over the woman a crown or garland; and the vase was probably destined, like others that present similar subjects, as a gift from a lover, or on occasion of marriage.—(Pl. xlvi.) represents a scene from one of the ancient burlesque comedies, such as Aristophanes censured in his play called The Clouds: four men, ridiculously dressed and masked, seem acting, in a theatre dedicated to Bacchus, what Mr. M. thinks may have probably been a parody of some tragedy of Procrustes.-In (Pl. xlvii.) a winged female, representing Victory, receives an offering from a young warrior ;and on the reverse, (Pl. xlviii.) we see an altar or cippus inscribed with the word NIKA, Victory; near which stand two young men, who, before their gymnastic exercises, seek to conciliate the goddess's favor.-Of a large and highly interesting picture on a vase in the author's collection (Pl. xlix.), the principal figure is Achilles, as an inscription indicates; this hero is engaged in combat with a warrior, whom we may believe Memnon; two goddesses, Minerva and Victory, attend Achilles; Memnon fallen on the ground supports himself on one hand, whilst with the other he seems to implore mercy. An armed hero, probably

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Æneas, appears coming to the assistance of Memnon, and another, imperfect from some injuries which the vase has received, endeavours to prevent him from interfering in the combat.-On the reverse, still more injured than the principal face, this vase exhibits (Pl. 1.) the altar of Minerva at Chrysé, with the Palladium or image of that goddess: a serpent is seen inflicting on the leg of Philoctetes that wound which induced the Greeks to leave him at Lemnos, when they proceeded against Troy; three other figures appear in this ancient composition, perhaps Ulysses, Chalcas, and a priest of the temple. (Pl. li.) represents also the altar of Minerva and Palladium, over which the word Chrysé (XPTΣH) is written; near this stands Hercules (HPAKAHE), and beyond him Jason (IHΣNN), by whose side is an ox destined for a sacrifice to the goddess; a winged Victory (NIKH) makes an offering at the altar in favor of the two heroes, and a young man prepares some objects necessary for the sacrificial rites. (Pl. lii.) offers a subject that admits of two interpretations: an altar is seen with a statue which may represent either Minerva or Diana, from different circumstances. If we suppose it Minerva, the three female figures sitting at the altar may be Ino, Autonoë and Agavé, the daughters of Cadmus, soliciting expiation for the murder of Pentheus. If the statue represent Diana, we may regard those females as the daughters of Protus king of Argos, who was cured of madness in the temple of Diana at Lyssa in Arcadia: our learned author's remarks induce us to consider this as the more satisfactory interpretation.(Pls. liii, and liv.) show two paintings on one vase: A young warrior seems to have alighted from his horse that he may receive from a female of high rank, the vessel containing wine or water which one of her maids presents to him; another young warrior, sitting on a horse, leads or holds that from which his companion had alighted. On the reverse are two warriors, (perhaps the same) who bring before some prince or great chief, a female; she appears in a state of dejection.-(PI. Iv.) exhibits the fine figure of a young warrior who seems to take leave of his aged father; whilst a woman brings a vessel, probably with wine: and on the reverse, (Pl. lvi.) are two warriors or hunters engaged in conversation with a woman holding a vase and a cup. The subject of (Pl. lvii.), from a charming fragment in the Queen of Naples' collection, Mr. M. refers to a marriage: one man, five females, an imperfect human figure, and part of a horse, form this composition.-In (Pl. Iviii.) a young man, on his return from the chase, drags a boar towards an altar; and a woman brings a box