Pentelic marble. Total height, 113 cm. Height of body, 96 cm. Of figured space, 47 cm. Circumference round the bottom of figured space, 116·5 cm.

The upper part of the neck and the whole of the handle are missing.

This beautiful marble grave lekythos, which I have received kind permission to publish from Dr. Kastriotis and M. Stais, is now in the National Museum of Athens (No. 2584). It was discovered in the year 1904 in the house of Spiliotis near the σφαγεῖα on the left bank of the Ilisos.

The vase itself is considerably broken, and the surface of the marble is unfortunately a good deal damaged, but in spite of this, at the first glance, one is struck by the beauty of the whole composition of the relief which covers more than half of the body of the lekythos. This relief is interesting also for its subject matter, which, as far as I am aware, has no exact parallel; a somewhat unusual fact, for on the whole there is not very much variation in the scenes and motives represented on the Greek grave reliefs.

In Volume LVI of this Journal I published a series of. Attic stemless kylikes with red-figure painting outside and stamped or incised patterns inside. These run from about the middle to the end of the fifth century. Characteristic of the early part of the fourth century, though the earliest examples are to be dated before the end of the fifth, is a series of cup-kotylai with similar decoration which forms the subject of this paper.

The cups range in size from a height of 0·09 m. with a diameter of 0·165 m. to a height of 0·06 m. with a diameter of 0·12 m. Their deep and comparatively narrow bowls presented more difficulties to the stamper than the shallow kylikes and restricted his designs to smaller and simpler patterns.

The earliest group consists of a pair of cups from the same hand. The stamped pattern shows five or six separate palmettes set closely round a small incised central circle and surrounded by a pair of incised circles.

The evidence considered under D makes it, I think, impossible that the accepted theory can be true as regards the larger polyereis of the first three centuries B.C., which clearly were galleys a scaloccio of some sort. If what is put forward under A be true, the reason why the accepted theory was invented and has been so largely believed disappears. Nevertheless, there is still room for evidence that will support the accepted theory as to triremes generally, the quadriremes and quinqueremes of the fourth century, and the biremes of the first; and the theory may be true, even if the words thranite, zugite, and thalamite do refer to another arrangement.

For a trireme, said Cartault, the evidence is overwhelming. Unfortunately he omitted to mention what it was, and with the best will in the world I have been unable to discover it. Assmann (1610) relied solely on the monuments. Luebeck however gives Schol, on Aelian's Tactica, Schol. on Frogs 1074) (see under A), Arr. Anab. 6, 5, 2 (see under B), Pollux 1, 87 (see under A), and Frogs 1074. Let me add Livy 33, 30, Aesch. Agam. 1617, Luc. Phars. 3, 529 seq.

The year 1947–1948 has been one of limited activity. The presence of rebel bands continues to restrict movement in parts of mainland Greece and the Peloponnese; and the financial policy of the Greek Government has allowed little progress to be made this year in reconstituting the museums. The ban which the Ministry of Education imposed on excavation in Greece has not been withdrawn, though there are signs of a more liberal interpretation of it. On the other hand, the foreign archaeological institutions in Greece have intensified their activities within the limits imposed by present conditions; they have been happily strengthened by the founding on 10th May 1948 of a Swedish Institute in Athens.

The Kerameikos Museum is now opened by appointment for students. The principal sculptures of the National Museum have been unpacked in preparation for replacement; an exhibition of early Greek sculptures and works of art was formally opened in the new year; it includes the Delphi charioteer and the new kouros from Anavysos. Additions to Mrs. Stathatou's private collection include a Late Geometric amphora and stamped gold head-band which were found in a grave in the Mesogaia, a small archaic bronze steer's head, and a grave relief of the later fifth century B.C.

But the attributes named seem to belong even to the majority of men, poor creatures though they may be. Are we to say then that in so far as they are satisfied with themselves and think they are good, they share in these attributes? Certainly no one who is thoroughly bad and impious has these attributes, or even seems to do so. They hardly belong even to inferior people; for they are at variance with themselves, and have appetites for some things and rational desires for others.

In the Hellenic Journal for 1903, while publishing some heads of Apollo, I took occasion to express my doubts as to the expediency of hereafter taking the Apoxyomenos as the norm of the works of Lysippus. These views, however, were not expressed in any detail, and occurring at the end of a paper devoted to other matters, have not attracted much attention from archaeologists. The subject is of great importance, since if my contention be justified, much of the history of Greek sculpture in the fourth century will have to be reconsidered. Being still convinced of the justice of the view which I took two years ago, I feel bound to bring it forward in more detail and with a fuller statement of reasons.

Our knowledge of many of the sculptors of the fourth century, Praxiteles, Scopas, Bryaxis, Timotheus, and others, has been enormously enlarged during the last thirty years through our discovery of works proved by documentary evidence to have been either actually executed by them, or at least made under their direction. But in the case of Lysippus no such discovery was made until the very important identification of the Agias at Delphi as a copy of a statue by this master.

In his generally admirable account of the poets of early Byzantine Egypt, Alan Cameron reconstructs some of their (in his words) journalistic warfare on the basis of a supposed distinction between the use of εἰς and πρός in the titles of books and poems: εἰς denotes a work written in someone's honour, πρός something by way of discredit or refutation.