^{page 343 note 1} Biliotti's Diary. Cazviri. March 11. 1880. No. 43. ‘Discovered a sharply vaulted tomb; found outside,

‘1 Hydria black glaze painted with three red figures; not very fine specimen however, as the figures are rather roughly done.

1 alabastron.

1 glass bottle with three coloured stripes.

1 lekythus with ornaments.

1 same with one handle, very common.

1 fragment of stone, perhaps part of a tool.’

^{page 345 note 1} Arch. Zeit. 1868, p. 3.

^{page 345 note 2} Annali dell' Inst. 1867, p. 179.

^{page 345 note 3} Herod, vii. 75.

^{page 345 note 4} Anab, vii. 4. 4.

^{page 345 note 5} Pauly, , Real-Encycl. s. v. Liber Pater, iv. p. 1022Google Scholar, refers to a representation of this same scene in Gerhard A. B. taf. 70, but I cannot find the publication he refers to; it is apparently not Antike Bildwerke nor Auserlesene Vasenbilder. The statement above is of course exclusive of the two familiar types, of Orpheus playing to or destroyed by Thracians; and Orpheus in Hades.

^{page 346 note 1} Toepffer, , Att. Geneal. p. 36.Google Scholar

^{page 346 note 2} J. H. S. vol. iii. p. 111.

^{page 346 note 3} Hermes, 1890, p. 1.

^{page 346 note 4} Lobeck, , Aglaophamus, p, 547Google Scholar &c. For the various versions of the resurrection myth see Frazer, 's Golden Bough, vol. i, p. 324.Google Scholar

^{page 347 note 1} See Kretschmer, in Aus der Anomia, p. 17Google Scholar, for the Phrygian-Thracian origin of the names Dionysos and Semele.

^{page 347 note 2} In the Etruscan form of the parallel Kabiric legend, which is represented on an engraved mirror published by Gerhard (16th Winckel-mannsfestprogramm), there are two winged and bearded Kabiri who tear a boy to pieces; and in the parallel story of the Korybantes there are two who thus destroy the third, their brother.

^{page 348 note 1} The Theban vases are black-figured; since we can hardly imagine black-figured vases being made at Athens as late as the end of the fifth century, it may be that the origin of the Theban type may date back perhaps a half century earlier; in a class of ware specially destined for a temple the style of black figures in which it had started would be kept up by a hieratic conservatism; the Panathenaic amphorae at Athens are an obvious parallel.

^{page 349 note 1} See J. E. Harrison, Mythology and Monuments of Athens, p. cxviii.

^{page 349 note 2} For the same reason Stephani's explanation of the Venice relief (C. R. 1863 p. 119) as Persephone and Zagreus cannot be accepted.

^{page 349 note 3} Muller-Wieseler, Denkm. ii. No. 413; see Heydemann, , Dionysos-Geburt, p. 55.Google Scholar

^{page 351 note 1} See Aus der Anomia, p. 174.