ACCOUNTS, ESTIMATES, &C. OP THE BRITISH MUSEUM. 37 



the drawing:, there is a tendency to effeminacy, which marks the decline of art. This cup 

 was found in a tomb at Nola, with several other vases, by the elder Ducde Blacas. 



Hydria- — Demeter, and Kore, in a chariot drawn by two winded androgyiions figures; 

 above, iire Ariadne, Dionysos, Himeros, Pothos, and a Seilenos ; below, Aphrodite, Eros, a 

 Satyr, and Majnads. This Vase, of which the subject is very remarkable, \v;is found at 

 Nola, With the one previously described. 



Aryhallos. — The body ornamented with fi;4ures in relief, painted in several colours, 

 without glaze, but gilt. The subject represents Dionysos and Ariadne, accompanied bv 

 two Mjcnad.--. The composition of these figures is exceedingly beautiful. Vases of this 

 fabric with polychrome figures raised in relief are of extreme rarity. Engraved, Musee 

 Blacas, PI. iii. 



Krater, with medallion handles. — Scene at the taking of Troy. Ajax Oileus, seizing 

 Cassandra, who clings f )r protection to the Palladium. The sacred image is clasped by 

 another female, who looks ro,und at another youthful warrior approaching. Perhaps this 

 group represents Menelaus and Helen. On the right is a priestess flying from the scene, 

 and the aged Anchises leading away Ascanius ; above Cassandra, Athene is seated, look- 

 ing down unmoved at the violation of her sanctuary. The introduction of the goddess 

 herself in this scene in immediate juxtaposition with the idol which symbolized her pre- 

 sence in her sanctuary is very unusual, and seems to indicate that Athene, like the other 

 gods, liad finully abandoned the temples of Troy. On the extreme left of the scene is an 

 Ionic column, which probably marks the tomb of Hektor. This vase is remarkable for its 

 size, as well as for the excellence of the driwing. It measures 2 feet 5ts inches in 

 height. Engraved, R. Rochette, Mon. Inedit., PI. Ixvi. Gerhard, Archaoi. Zeitutia, 1848, 



PI. XV. 



Aryhallos, — Ri d figures. Adonis seated with Aphrodite on his knees, with Peitho and 

 Eros attending on them. Elite des Mon. Ceram. iv.. Pi. 63. Apulia. 



Krater. — Red figures. A scene in the infernal regions, in which the principal figure is 

 Orpheus holdina; Cerberus ; above. Aphrodite, Eros, Hermes, Pan. Gerhard, Arch'aol. 

 Zeitung., 1844, PI. xiv. Apulia. 



Amphora. — Red figures. Apollo reclining on a couch ; in front of him three female 

 figures, one of whom is dancing, another kneeling at a laver, in which she washes her 

 hands, the third is cleaning a sandal. Engraved, Elite des Mon. Ceram. ii., PI. 49, where 

 this "subject is explained as the J.ycian Apollo reposing after his journey. Basilicata. 



Krater. — Yellow and white figures. The Danai'des filling the pitkos from their pitchers. 

 Musee Blacas, Fl. ix. Avella. 



Hydria. — Yellow and white figures. A female figure driving two panthers in a car. A 

 fine specimen of the later vase painting ; drawn with great spirit and effect, and in admirable 

 condition, Avella. 



Oinochoe.— The goat-legged Pan holding by the hand a female figure, perhaps Echo. 

 Engraved, Musee Blacas, PI. 23. 



Krater. — Red figures. An Ionic column, on which is placed a small statue of Hercules 

 armed with his bow and club. In front of this column an altar, which a femnle figure 

 approaches from the left, bringing fruits and cakes as offerings. On the right a bearded 

 Satyr is kindling the fire on the altar. Behind him a wine-skin hanging from a tree, and a 

 vase painted with black figures on the ground. Apulia. 



Amphora. — Red and white figures ; a female figure holding a hydria, sitting on a bull 

 with human face, which approaches a large marble laver. An androgynous winged figure is 

 crowning the female figure; on the left another female figure with a mirror and an 

 oinochoe. In the right hand upper corner a veiled female figure looking through a 

 window. The human-headed bull may be Dionysos Hebon, or a river god. Engraved 

 Musee Blacas, PL xxxii. Nola. 



Krater. — Red figures ; Actagon defending himself against his dogs. His name is inscribed 

 in the barbarous form, Ataiun.. On the reverse, Ajax killing himself. His name is 

 inscribed in the barbarous form, Aifas- The clumsy fabric of this vase, the v^n^kilful 

 drawing, and the form of the inscriptions, show that it is the product of a native Etruscan 

 potter, who has been little influenced by the traditions of Greek art. Engraved, Mon. 

 Ined. del Inst. Arch. ii. PI. 8. See R. Rochette, Annali del Inst. Arch. vi. p. 264. Elite des 

 Mon. Ceram. ii. PL 102. Valci. 



III. — Roman Mural Paintings. 



These are seven in number. Six of them were presented by the King'of Naples to the 

 elder Due de Blacas: — 



(l.) Group of three figures. A draped female figure seated by the side of a male 

 figure, and playing on the lyre, and a draped female figure who looks on, leaning on a 

 column. This scene may represent a lesson in music. 



249. F 2 (2.) Ulysses 



