^{page 201 note 1} Grateful acknowledgement is made to the University of Cambridge, to Emmanuel College, Cambridge, and to the Committee of the British School at Athens for the grant of studentships which enabled the writer to study and excavate in Greece: to Mr. Heurtley for his unfailing encouragement; and to M. Pelekides, Ephor of Antiquities of Macedonia, for his ready aid and courtesy; while the tedium of solitary work in Salonika was much relieved by the help of a youthful but skilled mender. Thanks due to others for assistance are specifically expressed in the footnotes.

^{page 201 note 2} Rey : I. Pl. IV.; and Figs. 15 (aerial photograph), 16 and 17 (photographs of the site), and Pl. V. (section): Part I, Fig. 6 (plan), Fig. 5 (section).

^{page 201 note 3} Rey's actual figures are 1·945 and 3·3962 hectares respectively.

^{page 203 note 1} It has been thought convenient to describe these as excavated, viz. from the surface downwards.

^{page 203 note 2} Fig. 2.

^{page 204 note 1} This suggestion—writes Miss Lamb—was made by Mr. A. J. B. Wace, to whom the section was shewn. The writer takes this description of the 1925 stratification from notes furnished by Miss Lamb, to whom he here makes the fullest acknowledgement of his indebtedness.

^{page 205 note 1} The modern refugee-villages are built mainly from local materials—mud brick, etc. —but tiles are imported from outside Greece; tile-clay of excellent quality also occurssouth of Salonika. The local reeds are used to form ceilings below the rafters.

^{page 205 note 2} These single rows of stones were probably foundation-courses for mud brick walls, as in modern building practice in the neighbourhood.

^{page 205 note 3} Fig. 4.

^{page 208 note 1} See p. 203.

^{page 208 note 2} Fig. 5, 1.

^{page 209 note 1} See below, pp. 233 ff.

^{page 210 note 1} Heurtley, Part I, p. 28, groups this pottery with the rest under D 4: yet the silvery tinge, combined with the use of a purple paint distinctive in character from that used on other pots, would seem to constitute a definite sub-variety.

^{page 210 note 2} Rey, 257, note 1.

^{page 210 note 3} Part I, p. 28.

^{page 210 note 4} Part I, Fig. 14, 6.

^{page 210 note 5} Part I, Fig. 14, 5.

^{page 211 note 1} See below, p. 234.

^{page 211 note 2} Identification confirmed by Professor E. Buschor.

^{page 211 note 3} Heurtley, Part I, p. 30, notes a few imported Geometric sherds from the Toumba.

^{page 213 note 1} This is a bit of a pot whose walls are about 1 cm. thick; made of warm buff clay, of uniform colour throughout, fairly well cleaned, but containing bits of some crimson substance (sand? or vegetable?) and very little mica. It is covered on the outside with dark sepia paint except for two reserved bands, 2 and 3 mm. wide respectively. The inside is unpainted. Once again thanks are due to Professor E. Buschor for kindly giving the benefit of his opinion on this sherd.

^{page 213 note 2} Part I, pp. 30, 64.

^{page 215 note 1} Part I, Pl. XX. a, 1.

^{page 215 note 2} P. 208.

^{page 216 note 1} Part I, p. 30.

^{page 218 note 1} See below, p. 221.

^{page 218 note 2} Part I, p. 30, “Miscellaneous”; ibid., Pl. XX.b. It occurs on the Toumba in the 3rd half-metre, and is commonest in the 4th.

^{page 221 note 1} Part I, p. 28.

^{page 221 note 2} B.S.A. xxiv. p. 22, Fig. 16Google Scholar.

^{page 222 note 1} In the Prefecture at Salonika: not published.

^{page 224 note 1} Cf. Part I, Pl. VII.b, 9 and 10, Pl. XX.b, 3.

^{page 225 note 1} This description is used without prejudice to the distinction drawn above (pp. 210 f.) between these ordinary wares and the true ‘purple on buff’ of the lower strata.

^{page 227 note 1} They occur on hand-made pots of Period A in the Toumba: Part I, p. 14, and Pl. II.

^{page 228 note 1} Aegina, Text, p. 441, type 68: Taf. 120, No. 26, and 123, No. 1s.

^{page 231 note 1} Cf. B.M. Lamps, Pl. XL., Nos. 36, 38, etc.

^{page 231 note 2} Mr. E. J. Forsdyke, when passing through Athens, kindly gave the benefit of his knowledge upon later Greek pottery.

^{page 231 note 3} The writer is indebted to Miss M. B. Hobling for a letter on the subject of these relief fragments.

^{page 231 note 4} The stamp reads , with the upper part of the “M” pointing away from the rim of the amphora. It could, of course, be read sideways, ΟΣ (οἰ̑νος ?). This combination of two letters does not occur in I.G. xii. I, pp. 175Google Scholar f. Myres and Richter, Cyprus Museum Catalogue, No. 2338, published under ‘Pottery of the Hellenistic Age’ a handle stamped MO, but this is noted (p. 95) as being (unusually) ‘not in relief.’ The portion of Inscriptiones Orae Septentrionalis Ponti Euxini, III, in which Olbian handle-inscriptions are due to appear, has not, the writer believes, been published.

^{page 232 note 1} See Dumont, A., Inscriptions céramiques de Grèce, pp. 7Google Scholar f., for a description of the various types, clay, etc.

^{page 233 note 1} See Part I, p. 30, and Pl. XXII. 8.

^{page 234 note 1} Note especially the tool-marked B 1 ware, which occurs in Period B of the Toumba, is commonest in Period C, and fairly frequent in D: Part I, p. 17 and Pl. VIII. 2. This ware may well be the source whence the scraped technique was derived.

^{page 234 note 2} The fact that the tool-marks of B 1 ware are vertical, e.g. on the urn illustrated in Part I, Pl. VIII. 2, strengthens the belief of a connection between this ware and scraped ware.

^{page 234 note 3} Cf. p. 212.

^{page 234 note 4} Cf. p. 225, and Fig. 13, 8.

^{page 235 note 1} The 41 sherds from the 6th half-metre consisted of 15 separate sherds and 10 making up into the hydria-neck and 16 into part of another vase. This figure is therefore not comparable with those of other levels, where the sherds clearly come from many different vases.

^{page 236 note 1} Approximate ascertainable rim-diameter (external unless stated) : No. 1, ·123 m.; No. 5, ·25 m.; No. 6, ·14 m.; No. 7, ·184 m.; No. 8 (internal), ·22 m.; No. 10, ·1801.; No. 15 (internal), ·175 m.; No. 17, ·17 m.; No. 18, ·067 m.; No. 19, ·175 m.; No. 20 (internal), ·25 m.; No. 22, ·08 m.

^{page 237 note 1} Since the writer returned to England, he has noticed in Aegina, Text, p. 441, a reference to a ‘local hand-made ware,’ type 67, which in many respects seems from the description, and also, so far as can be judged, from the illustration (Taf. 123. 2), to bear resemblance to D 6 ware. Since, however, he has not been able to inspect the ware, and there are grave objections to supposing any connection at all between the two, a mere reference will suffice.

^{page 237 note 2} This type occurs only in Period D on the Toumba, and mostly in the 4th half-metre.

^{page 237 note 3} Possibly a potter's incising tool: cf. Dar.-Sagl., Art: Figlinum, p. 1122, Fig. 3036 (of bone and ivory, from Arezzo). Reproduced by Blümer, , Technologie u. Terminologie der Gewerbe u. Künste bei Griechen u. Römern, II, 110Google Scholar, and by Richter, , Craft of Athenian Pottery, p. 85Google Scholar, Fig. 88.

^{page 241 note 1} ii. 100.

^{page 242 note 1} These notes on the Low Table are derived entirely from material furnished by Miss Lamb, supplemented by some memoranda from Mr. Heurtley.