The objects described in this article have for the most part been acquired by the Trustees of the British Museum in the course of the last four years through Sir Cecil Smith, late Keeper of the Department of Greek and Roman Antiquities. Sir Cecil Smith has kindly given his assent to their publication, and Mr. Arthur Smith, the present Keeper, has added his permission.

The three inscriptions included in this paper belong to the well-known class of records containing the lists of sacred objects dedicated in the Parthenon during the fifth and fourth centuries. None of them sheds any new light on the difficult problems connected with the exact history of the various changes of the régime under which these records were drawn up. The best authority on these points after 400 is Lehner's treatise Über die athenischen Schatzverzeichnisse des vierten Jahrhunderts. To this work constant references are made in this paper in connexion with the second and third inscriptions contained in it, which give us several new items of interest and enable us to fill conclusively some of the many lacunae in these lists. The first fragment belongs to the period previous to the year 405/4, when a change was made in the organization of the treasurers who drew up these lists, which does not concern us here.

This little archaic figure (Figs) I purchased in 1901 at Vathy in Samos, and with it a fine bronze sword, of which hereafter. The peasant who sold it to the Samian from whom I got it was reported to have said that they were discovered together at the village of Castania near Carlovasi. It is undoubtedly an early example of Greek figure-casting. The figure itself is four inches high, but there are two projections from the soles of the feet, making it four-and-a-half inches high over all. These projections are intentionally formed, to fix the figure upright on its base. The figure stands rigidly upright, with feet apart and arms detached from the body at the elbow and raised rather higher than the horizontal line. The figure would be absolutely symmetrical about its middle plane if it were not for the hands, of which the right is open with the palm turned to the figure's own left, while the left hand is closed and perforated as if to grasp something. The lower part of the body is without modelling and resembles a rounded board or a flattened bolster. There is no attempt to model the bosom. The face itself is long, with rather wide and high cheekbones: the eyes are wide and staring as in most very early Greek work: the hair lies low on the forehead. The mouth, though fairly well marked, wears no smile; on the contrary, the lower lip is thrust forward a little. Neither fingers nor toes are marked with any certainty.

To students of Frankish Greece the church at Karditza in Boeotia is one of the most interesting in the country, because it contains an inscription referring to an important Frankish personage, Antoine le Flamenc, and dating from the fatal year 1311, which witnessed the overthrow of the Frankish Duchy of Athens in the swamps of the Boeotian Kephissós. Buchon had twice published this inscription; but, as I was anxious to know in what condition it was and to have an exact facsimile of it, I asked Mr. D. Steel, the manager of the Lake Copaïs Company, to have a fresh copy taken.

The initial chapter of M. Perrot's memoir on Thasos makes it unnecessary to give any general description of the position, aspect, and climate of the island. But since he wrote before the Austrian staff-map, which contains rough contours, was produced, it will be well to supplement and correct his remarks on the mountain system of the island.

On this M. Perrot wrote (p. 7):—

‘Le système des montagnes de l'île est assez confus, et très difficile à établir sur une carte. Le seul trait remarquable et qui frappe tout ďabord, c'est une chaîne principale, très étroite au sommet et souvent taillée en lame de rasoir, qui traverse l'île à peu près de l'est à l'ouest, en jetant vers le sud et le nord ďépais contreforts et des vallées sinueuses. Les points les plus élevés de cette longue crête, qui serre toujours de près la côte nord, sont le Saint-Élie (960 mètres) et l'Ipsario (1030 mètres) . . . tout le pays au sud de cette chaîne, environ les deux tiers de I'île, est formé de hauteurs qui se mêlent et courent en tout sens, et ne dépassent guère cinq ou six cents mètres.’

In his description of the Street of Tripods at Athens Pausanias notices certain important works of art by Praxiteles. The passage has given rise to much dispute. The author states that in this street was preserved that Satyr of which Praxiteles was very proud, and quotes an anecdote to show that the artist ranked it with the Thespian Eros as one of his masterpieces. He then concludes with the words:—Φρύνη μὲν οῦτω τὸν ᾿´Ερωτα αίρεῖταιΔιονύσῳ δὲ ἐν τῷ ναῷ τῷ πλησίον Σάτυρός ἐστι παῖς καὶ δίδωσιν ἔκπωμα᾿´Ερωτα δ᾿ἑστηκότα ὁμοῦ καὶ Δίονυσον Θυμίλος ἐποίησε

Three important questions arise out of this concluding passage:—(1) Is the ᾿´Ερωτα δ᾿ἑστηκότα ὁμοῦ καὶ Δίονυσον Θυμίλος ἐποίησε by Praxiteles? (2) If so, is it to be distinguished from the Satyr of the anecdote? (3) Was it associated, as part of a group, with the statues by Thymilus? The aim of the present paper is to show (a) that the first and second of these questions should be answered in the affirmative, the third in the negative; (b) that the Satyr, however, did not stand alone, but was grouped with a figure of Dionysus; and to suggest a restoration of this group.

No apology should be needed for treating afresh these much-discussed battles, if only because the last two years have produced new and important evidence from Delos; though in fact the literary allusions, scanty as they are, have hardly even yet been sufficiently elucidated. I hope in this paper to fix the dates of Andros and Cos by the Delian archon-list, and to consider what that means in terms of B.C. In a subsequent paper, to be published in the next number of this Journal, I hope, by working out the history of the ship which Antigonus Gonatas dedicated to Apollo, to confirm the date assigned to Cos in this paper. If these two dates could really be fixed, they would be invaluable for our understanding of Aegean history in the middle of the third century.

The identification and origin of this early type of Artemis, in which the goddess is represented standing erect and with wings on her shoulders, while in either hand she grasps an animal or bird, has long been the subject of much discussion, chiefly due to the fact that the archaeological evidence hitherto available, although consisting of some fifty representations, has come from various localities. The literary evidence likewise gives no sure clue, for the only certain mention of this type occurs in the description of the Chest of Cypselus, where Pausanias admits that he knows no reason why Artemis should be winged. Recently, however, at the sanctuary of Artemis Orthia at Sparta numerous examples of this type have been found, which, besides including several new and interesting variants both winged and unwinged, also extend the chronological range beyond the seventh and sixth centuries B.C. Moreover, the numerical superiority of this series over the total number of examples previously known, together with the fact that the earliest representation was found with geometric pottery, seems to show conclusively that Sparta is a prominent early centre of this most interesting type. Consequently in the present paper the question of the identification and origin of the ‘Winged Artemis’ will be considered in the light of the recent evidence from Sparta.

The following article is a direct continuation of that which has just appeared in the Annual of the British School at Athens, Vol. xiv. pp. 226 to 318, and must be read in the light of the general introduction to the whole excavations there given. It is enough to say here that part of the Necropolis of Rhitsóna, five miles on the Boeotian side of Chalcis, the conjectured site of the ancient Mycalessos, was excavated by the writers in the autumn of 1907 and the spring of 1908; and that the vase finds were so considerable that they have had to be divided up between several articles. In the B.S.A. referred to there were published general sections on Topography, History, and Method of Burial, the Catalogue of eight Graves, and a discussion of their Dating and of what we have decided to call the Boeotian Kylix Style. The present article will contain the Catalogue of four more graves, a description of two individual vases from the B.S.A. graves now reproduced in colours, and general sections on the meaning of our incised Inscriptions, and the provenance of some of our vase types.

The twelve months since the writing of the last of these Reports have witnessed a continuation of most of the excavations then noticed, although it has been a year rather of promise than of many important discoveries. The prospect of a Middle Minoan III cemetery at Knossos, a period which has yielded some of the finest objects, and the discovery of Mycenean remains by the British School near Sparta give good hope for the future, whilst the French excavation of Delos has made steady progress, and the German work at Tiryns and in the neighbourhood of Olympia has produced good results.

The Greek Archaeological Society has continued all through the year the work on the buildings of the Acropolis. The Erechtheion is now finished, and the Propylaia has been begun. The fallen blocks from the architrave and elsewhere are now to be replaced in situ, and when this has been done a decision is to be taken as to how much further it is desirable to continue the work.

The inscription (Fig. 1) on block 1010 of the Amazon Frieze of the Mausoleum has hitherto been regarded as illegible. The letters are ·03 m. high and carefully cut in three lines across the shield of one of the combatants, but have been (perhaps wilfully) defaced. The block in question is one of the twelve acquired by the exertions of Stratford de Redcliffe in 1846 from the Knights Hospitallers' Castle of S. Peter at Budrum. Of the twelve blocks three were built into the seaward wall of the castle with the arms and inscription (1506) of the Captain Constantius de Opertis: the remaining nine, of which No. 1010 is one, were placed inside Newton's ‘third gate’ five in the seaward tower and four immediately opposite.