Letters Slight apices. Date about 200 B.C.; not earlier. Line 1: iota adscriptum possibly omitted in Line 21: for see I.B.M. 925 (Branchidae). In line 12 there is a space after indicating a stop, but Mr. Paton cannot find any trace of after

Telmissos is described by Polemo (apud Suidam s.v.) as a town in Caria at a distance of sixty stadia from Halicarnassos [which answers very nearly to the distance between Budrum and the site above Ghiöl (J. L. M.)]. It has been frequently confused with its namesake, an important city in the west of Lycia. But we may take it for granted now that it was the little Carian town that was so famous in ancient times for its augury. Cicero is quite explicit on the point (De Divin. i. 41): Telmessus in Caria est, qua in urbe excellit haruspicum disciplina; and again in ch. 42: Turn Caria tota, praecipueque Telmesses, quos ante dixi, quod agros uberrimos maximeque fertiles incolunt, in quibus multa propter fecunditatem fingi gignique possunt, in ostentis animadvertendis diligentes fuerunt.

John Boardman has pointed to the squat bronze jugs with lotus handles from early Iron Age contexts in Crete and at Lefkandi on Euboia as Egyptian imports ‘certainly straight from Egypt itself with no eastern intermediaries’. On close inspection, however, the Egyptian antecedents of these jugs pose a chronological, and even a philosophical, puzzle; whatever the solution, the jugs found in Crete and at Lefkandi surely do not furnish convincing evidence for early direct connections between Egypt and the Aegean.

In an article published in the last volume of this Journal I endeavoured to show (1) that the extant fragments of the ‘chrestomathy’ of Proclus represent the Trojan part of the ‘Epic Cycle’ more completely than has been maintained by eminent scholars; and (2) that, on the other hand, they are less trustworthy than they appear to be as a source of knowledge of the so-called ‘Cyclic’ poems. That is to say, the notion of a considerable lacuna in Proclus' abstract is not borne out by a more thorough examination of the only extant manuscript. But that abstract does not always give a full or accurate account of the several poems from which the Epic Cycle was made up. And this incompleteness is found (1) when two of the poems dealt with the same part of the story—in which case the abstract leaves out one of the two versions altogether;—and also (2) when the incidents of a poem are not in harmony with the accepted mythological narrative. In the latter case the abstract gives the version which was recognised as historically true. We have, in short, an account, not of the original poems, but of so much of their contents as served for a continuous and complete history of the world.

The krater which is the subject of this paper is preserved in the Louvre. It has been well engraved in the Monumenti of the Institute, and discussed by Helbig in the Bulletino (1881, p. 276), by Robert in the Annali (1882, p. 273), and by Winter in his Jüngere Attische Vasen (p. 45). My object in resuming the study of it is twofold. Firstly, the vase is so remarkable for beauty and distinction of style as to have scarcely an equal, and it will be a good thing to bring it in any way to the notice of English artists and archaeologists. And secondly, in spite of Professor Robert's able paper, it appears to me that it is susceptible of a more complete explanation than it has yet received.

It was discovered at Orvieto in 1880, in a large tomb consisting of two chambers. In the same tomb were found several other vases, ranging in date from the early part of the fifth to the middle of the fourth century. Our vase was in that of the two chambers in which were for the most part later vases; but Professor Helbig states that the contents of the two chambers were broken, and so much intermingled that it was difficult to say that the vases lay in distinct groups. It seems therefore that the circumstances of the finding do not compel us to assign a particular date to our vase. Professor Robert would give it to the first quarter of the fourth century.

The subject of the exploits of Theseus as seen on Greek vase-paintings has recently been treated by Professor Milani in a long and interesting paper in the Museo Italiano di antichità classica (iii. 1, p. 236). I propose therefore to set aside all general consideration of the myth and its typography, and to confine myself to the discussion and elucidation of two hitherto unpublished vases (plates I., II.), one of them included in Professor Milani's list, one entirely unknown to him, and both, as I hope to show, having strong claims on the attention of archaeologists. They are (1) a red-figured vase, which for convenience sake I shall call from its owner the Tricoupi cylix; (2) the fragments of a red-figured cylix from the De Luynes collection in the Bibliothèque Nationale, Paris.

1. The Tricoupi cylix, plate I. When I was in Athens in the spring of 1888, Miss Tricoupi with her accustomed kindness, so familiar to all visitors to Athens, allowed me to examine at my leisure her brother's collection of antiquities. I found to my surprise that it contained a vase which I have reason to believe is from the hand of Duris, and of which, so far as I am aware, no mention has been made in the numerous discussions of vases dealing with the exploits of Theseus, and which therefore, I suppose to be entirely unknown. I record here my grateful thanks to Miss Tricoupi for her kind permission to publish the vase, and for her goodness in facilitating its exact reproduction. The drawing from which plate I. is facsimiled was made for me by M. Gilliéron under my own personal supervision, and I can therefore vouch for its perfect accuracy. I was specially anxious to secure its.immediate publication as, though the vase is at present in such safe hands, the security of antiquities in private collections is always precarious.

These notes are offered to E. R. Dodds in gratitude for much kindness and for much instruction on Greek drama and religion.

I. Heros

The main lines of the story are clear from the summary, the list of characters, the two papyrus passages and the fragments. But the second papyrus passage can, I think, be made a little clearer and something can be said about the Heros. For understanding these the beginning and the end of the summary are useful: ‘An unmarried girl (Myrrhine) bore twins (Plangon and Gorgias) and gave them to a guardian (Tibeios) to bring up. Then later she married her raper (Laches)…. When things became clear, the Old man (Laches) discovered his children (Plangon and Gorgias), and the violator (Pheidias) took the girl (Plangon) willingly.’

The second of the two papyrus pages begins with the last two lines of an Act; then the new Act (the fourth because it has the main recognition scene) starts with a short agitated soliloquy of Laches (55–63). He has returned home and found that the girl Plangon whom he had promised to his slave Daos has borne a child to an unknown father (I assume that Daos' claim has been rejected): this, I think, is what he comments on in his fragmentary soliloquy. Then Myrrhine comes out.

In March, 1947, as Antiquities Officer of the British Military Administration, Dodecanese, I examined the spoil earth from a well dug a few years before in the valley of Vathy on Calymnus; a previous visit had shown that it contained prehistoric potsherds. The well had reached, at about nine metres down, the remains of a village of late neolithic and early Bronze Age date. No trace of the strata of occupation was found in situ, but the amount of pottery in the spoil heap compared with the size of the shaft did not indicate that those strata were thick. The neolithic wares included pieces of rather thin polished pottery, silvery-grey, greyishbrown or reddish in colour, seldom of a uniform tint. Such pottery is, in surface and colours, not unlike late neolithic from Knossos, but it is less thick. A piece of a large handle of round section and polished red surface, decorated with knobs at intervals along the convex edge, was found. This type of decoration on a similar handle is paralleled in Stratum I. at Lianokladhi. The Bronze Age pottery, mostly grey or black in colour, is more or less rough in texture. Very little similar to the black polished wares of Thermi I appeared, but a few examples of striated ware, and of incised decoration, were found. There was also part of a spoon covered with red wash decoration, and sherds ornamented with the addition of a ribbon of clay, pressed flat at intervals, and with imitation rivet-heads. Simply shaped legs from tripod or other vessels were found, and flat solid handles placed rising from the rim and shaped with two points or horns. Another find consisted of part of the rim of a large vessel with internal ledge handles and a row of holes pierced just below the rim. Handles included both ribbon and round (in section) varieties, one type of ribbon handle being similar to a characteristic Cypriote type of handle. Two flat bases are paralleled in Crete and Hissarlik. A plain black single conical spindle whorl is paralleled at Thermi.

Les thèmes de folklore ont la vie dure. Chacun connaît les miracles d'Epidaure (v.gr. R. Herzog, Die Wunderbarheilungen von Epidauros, Leipzig, 1931). Or quelques uns de ces types de miracles se retrouvent dans la Vie, écrite quelque dix siècles plus tard, de Syméon Stylite le Jeune (521–592), éditée par Paul Van den Ven (Subsidia Hagiographica des Bollandistes, n° 32, 2 vol. Bruxelles, 1962 et 1970).

Ch. 41 (A). En tête de la première suite de miracles, accomplis par Syméon alors qu'il est encore sur sa colonne de 40 pieds dans le ‘monastère du bas’ (entre 533 et 541, Syméon ayant de 12 à 20 ans), vient une première liste du Trois anges, qui s'étaient mis à inscrire les noms des malades guéris par Syméon (40.16 ss.), lui annoncent qu' ils vont cesser de le faire: 41.7 ss. (parce que désormais toutes choses s'accompliront, grâce à toi, par la vertu de ta parole et de ta puissance)

Mr. Albert Biliotti, the British Pro-Consul at Rhodes, who in conjunction with his brother has been carrying on excavations in that island for some years, has sent me the following eight inscriptions which he has noted from time to time and which, so far as I know, are unpublished. He has very kindly placed at my disposal his copies and, where they could be procured, paper impressions.

1. On a fragment of marble, 5 inches high by 7½ inches broad, discovered in the course of excavations on the Akropolis of Kamiros: complete on the upper and left-hand sides: from a paper impression.

In a note to volume cxi of this journal, I observed that the word , although a diminutive, did not at all periods describe a piglet. In the classical period, it seems to have meant a small but not necessarily immature pig; in Hellenistic Delos and in Egypt, a pig fullgrown or nearly so, apparently synonymous with the non-diminutive ; then by the first post-Christian century the term came indeed to mean ‘piglet’, a meaning previously expressed by .