The very interesting limestone plaque from Ur, illustrated in pl. v of vol. viii of The Antiquaries Journal, deserves a little more attention than Mr. Woolley has had space to give to it. In design this chariot exactly resembles a number of pottery models that were found in the season 1923–4 at Kish and provisionally dated 3000 B.C. or a little earlier. I note that Mr. Woolley is of opinion that his plaque can be dated 3200 B.C.

Even if the number of bronze bowls which constitute one of the brightest spots in the art of our Dark Age had remained at the respectable figure at which it stood a few years ago, British art could still boast of having furnished a most valuable contribution to the art of the period. But when we find added to this number two splendid examples in the space of three years we may well wonder what fresh revelation of the art may still be in store for future discovery, destined to illumine further the mystery that surrounds them and their origins. In 1931 the archaeological world was delighted by the Winchester bowl, as much on account of its perfect state of preservation as for the intricate workmanship of the scrolled designs on its escutcheons, even though these belonged to a type already familiar from numerous examples discovered in the past. Even so the variety of the patterns offers, as Mr. Kendrick has demonstrated, a most fascinating problem, one which he has gone far to solve, and yet, as he would be the first to admit, there are many points in their history that still remain obscure.

Having received, from the Reverend Dr. Griffith, Rector of St. Mary Hill, the inclosed account of a curious discovery lately made at Colchester, I take the liberty to trouble you with it; that, is you esteem it at all worthy the attention of the Society, you may communicate it to them. I will only just take the liberty to add, that, in pulling down the old tower of the church at Mold, in North Wales, last year, a great quantity of grain was found buried under its foundations, in like manner; and that probably it was deposited in both places, in consequence of some ancient superstitious custom.

There is no subject that appears to me to present a better field for inquiry to a Christian antiquary than the architecture and antiquities of the Byzantine Church and the Churches associated with it.

In the year 1825 some labourers who were employed in draining a swampy field upon a farm belonging to the Featherstone Castle estate came upon what seemed to be part of the trunk of an oak-tree. Finding that it impeded the progress of their work they endeavoured to cut it out with an axe, when to their surprise they discovered that the trunk was hollowed and contained some human bones, which, however, speedily became dust when exposed to the air. Proceeding with their work they found the remains of four more coffins of the same kind, in one of which was part of a skull.

When we reflect on the grandeur, wealth, and power of the numerous representatives of Hellenic culture that caused a considerable portion of Italy to be called a greater Greece, we can hardly fail to be struck with the scanty knowledge we possess of their political and social history.

The following brief observations have reference to a remarkable discovery that has very recently been made by Sir John Savile Lumley, Her Britannic Majesty's Ambassador at Rome, near the lake of Nemi. The excavations which he has carried on at that spot simultaneously with those at Cività, La Vigna,—about which you have lately had a paper submitted to you,—have apparently resulted in the identification of the site of the Artemisium—the shrine of Diana Aricina.

I have the honour to lay before the Society an Archaeological Survey, in which will be found the principal and most of the minor archaeological discoveries which have been made in the county of Kent. A work of this kind must necessarily be incomplete, as many relics of the past are being continually brought to light, and pass away unrecorded into various public and private collections, or are destroyed by ignorant and thoughtless workmen. It is hoped, however, that no important discovery has been omitted, either from the map or text, and that the general arrangement will be found convenient for reference. In order to avoid repetition of the titles of the various publications, a Bibliographical List has been given, with a key to the abbreviations, which are framed upon a plan both simple and suggestive. The signs upon the map have been made as large as its size would allow, and are marked on or near the actual sites of discoveries; but in some instances the signs have had to be placed so as to avoid obliterating names of places. It may be well to mention that where spots of different colours, indicating interments, come together in one locality, it signifies (as a rule) that remains belonging to distinct periods occurred in the same burial-place. It was deemed unnecessary to mention every individual discovery of Palaeolithic implements, a line has therefore been drawn under the name of the town or village in whose district they abound in the river-drift gravels. Discoveries of Neolithic implements have not been noticed, as they occur upon the surface in vast numbers throughout the county. British coins being of rare occurrence, have been noted, likewise hoards or large quantities of Koman coins, but single or scattered specimens have, with few exceptions, been omitted.

The Vase, of which a tracing is laid before the Society, has been described in the Catalogue of the Greek Vases in the Museum, although its subject could not at the time be made out, and the present memoir must be considered as an attempt to interpret its meaning, a task rendered the more difficult as there is not any distinct mention of the subject by the classical writers, and it is one transmitted only by the artists of Greece. It occurs on one of the hundred select vases presented by the late Prince of Canino to Cardinal Fesch, and subsequently ceded by the possessors to the British Museum. The Vase is of the shape called hydria or calpis, ornamented with red figures upon a black background, and its style is that usually known as the commencement of the decadence of the fictile art. It has no inscription, unfortunately, to aid in its decipherment. It was found in the sepulchres of the ancient Vulci.