STUDY OF GREEK VASE-PAINTING. 651 



vase he describes, but his drawings are crude and inaccurate, there 

 is no attempt at chronology, and most of the vases he publishes are 

 of the Apulian style, which is late and decadent. It will be noticed 

 that he considers them Etruscan ; but at that time it was almost the 

 universal belief, as I shall point out a little later. 



The next series of albums are nearly all of private collections, 

 and the most important of these are the albums of the Hamilton 

 Collection, the first by D'Hancarville (1766-67), the drawings of 

 which are quite untrustworthy, and the second by Tischbein (1791- 

 1803) called Vases d'Hamilton. Tischbein's is perhaps the first ac- 

 curate album to be published ; but he almost invariably omits the 

 shapes of the vases he describes, which makes it hard to use him. 

 Furthermore, most of the Tischbein vases are inaccessible, as a 

 large part of the collection which is portrayed by him was lost at 

 sea. A large number of Tischbein vases passed into the famous 

 Hope Collection, and many of them figured in the Hope Sale at 

 Chrystie's in the summer of 191 7. 



In 1808 and 1810, A. L. Millin brought out his " Peintures de 

 Vases Antiques " in two volumes, an album of vases in various col- 

 lections. This was republished in a cheap form in 1891 by Salo- 

 mon Reinach, who gives the various present locations of the vases 

 there published. Millin's drawings, from the archaeologist's point 

 of view, are almost worthless. The subjects w^ere at the time the 

 chief features of interest to scholars. The shapes are rarely, if ever, 

 given, and the drawings are absolutely unreliable for the study of 

 technique. A little better was the work of F. Millingen, whose 

 "Ancient Unedited Monuments" (1822-26) contained publications 

 of some vases, but whose " Peintures Antiques de Vases Grecs " 

 (Rome, 1 81 3) is really the beginning of good work in albums. An- 

 other typical album of this period is Dubois-Maisonneuve's "In- 

 troduction a rfitude des Vases Antiques" (Paris, 1817). Many 

 albums were also made of private collections such as " Vases de la 

 Collection de Sir John Coghill " by MilHngen (1817), (a collection 

 now dispersed, but several vases from which figured in the Hope 

 Sale) which showed a great advance on his previous work. Shapes 

 are always given, and the drawings are more accurate. Then there 

 is Laborde's "Vases de M. le Comte de Lamberg" (1813-24), a 



