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.

It is not generally realized that to speak of Antiochus III—the Antiochus who makes a figure in Roman History—as Antiochus the Great is strictly speaking incorrect, although, as a popular form of speech, it goes back to the time of Polybius, and is even found on some monuments. Other monuments give us the form which is obviously the more correct, the official, form. The Seleucid kings had, it is well known, official surnames. We find them on their coins or in inscriptions along with their title Βασιλεύς The three elements of their designation have their regular order—title, personal name, surname, e.g.Βασιλεύς Σέλευκος Φιλοπάτωρ But in the case of Antiochus III the inscriptions of most authority, which give his designation in full, have notΒασιλεὺς ᾿Αντίοχς Μέγας That is to say, Μέγας is not really a surname at all: but Antiochus III is distinguished by a modification of his title: he is not simply ‘King’ but ‘Great-King.’ The popular form is especially misleading to us who have the way of calling kings the Great to imply vaguely some sort of personal preeminence, as when we speak of Alfred the Great, Frederick the Great, &c. The title ‘Great-King’ has quite a definite significance.

The most remarkable characteristic of the temple built in the sixth century was the figure sculpture which surrounded the lower drums of the columns on one or both of the fronts. This feature was certainly not an architectural freak, and the band of figures must either have been thought of as a sculptured dado or derived from Egyptian prototypes such as the sculptured columns of Medinet Abou. Both antecedents may have influenced the choice, but the former was a sufficient and the more probable source. The sculptured dado was the first form of sculptured ‘frieze’; in ‘Mycenaean’ palaces dadoes of plain or sculptured slabs faced and protected the lower parts of crude brick walls. The two fragments of slabs with reliefs of oxen from Mycenae in the Elgin collection formed part of such a dado.

This paper publishes a gold ring until recently in private hands in the United States. The former owners, private persons with no scholarly background, brought the ring to the present writer's attention upon learning that he had some knowledge of Greek inscriptions. The one deplorable fact is that this ring was removed from its context, so that much of its scientific value is forever lost to us. Nonetheless, the damage was done by others years ago, and its owners deserve praise for making the ring available for study. The dedicatory inscription on it is an invaluable example of early Argive script. The details of acquisition are unclear. I have been able to ascertain only that the ring was acquired in ancient Mycenae from some Greeks who claimed to have dug it up in the area. As will be seen, in all probability it comes from the Argive Heraion.

A number of studies of the Cyclops episode of Odyssey ix have described modern folktales which resemble it to a varying degree. Most writers have concluded that few of the tales actually derive from the Odyssey; rather they are related to it as independent variations of the same tale. Hitherto there has been no basis for conjecture about the origin of the tale, and speculation has ranged widely but inconclusively.

Perhaps speculation is all we can ever hope for in such questions. But it may help if we can find possible references to a version of the tale earlier than Homer, and the purpose of this note is to draw attention to such a possibility.

One-eyed but otherwise human figures are found, though not often, on cylinder seals from Mesopotamia. Edith Porada describes and illustrates three examples. The earliest of these (Plate VIIIb) dates from around 3000 B.C., and shows the one-eyed figure nude, curly-haired and bearded, holding up two lions by the hind legs. The rest of the scene includes an enclosure of some sort, a grotesque man(?) apparently bending a stick(?), two creatures that look like sheep, and two lion-headed birds (the personified storm-cloud?).

The vases published here are part of the collection belonging to Lt.-Col. W. H. Bromley-Davenport, of Capesthorne Hall, Macclesfield, Cheshire. As far as is known, they all come from Lucien Bonaparte's estates at Canino near Vulci, and were brought to Capesthorne by Edward Davies Davenport (1778–1847), the great-grandfather, and Walter Davenport Bromley (1787–1862), the great-uncle of the present owner.

A black-figure neck-amphora (Plate VII (a), (b)) is by the Antimenes Painter. It is complete with lid, has no restoration and measures 38½ cm. to the mouth; the handles are triple. On one side Herakles is about to slay the Nemean lion; on the other Dionysos stands between two capering satyrs. The added red and white is clear from the photographs. The attribution is of course certain; note the vertical lines on the outside of the legs, the arc describing the calf on the inside of the legs, the knees and elbows, the lines on arms, and the long mouths. But dating is less certain. The drawing is careful and appears at first sight to be rather late. The large strong figures and the feeling for space, the folds of Dionysos' chiton compared with the lack of chiton folds on a neck amphora in London and on one of similar period in Munich, and the elaboration of Herakles' foldless chiton compared with that on the Villa Giulia, Northwick Park, and Naples neck-amphorae, all suggest a late date. But there is no trace of double curve on terminal fold or knee, nor of wavy lines on drapery, as on the late neck-amphora in London.

The excavations of the French School at Delphi are now in full activity. They have been looked forward to for years with the keenest interest, but hitherto there has been nothing to record but negotiations and preparations. Now that the work has actually begun, it has proved that even the most sanguine anticipations were not unfounded. The find in inscriptions and in sculpture is of extraordinary richness and interest, and will form an epoch in the history of archaeological discovery no less important than those marked by the excavations of Olympia and of the Athenian Acropolis. In comparison with Delphi, other discoveries must seem of inferior importance. But much valuable work has been done during the season, especially by the various foreign Schools in Athens.

In Athens itself, the excavations in the neighbourhood of the Pnyx and the Areopagus, begun by Professor Dörpfeld last season, have been continued. It will be remembered from last year's report that the chief object of these excavations was to solve some disputed questions of Athenian topography, especially the position of the spring Enneacrounos. A primitive system of waterworks was discovered in the hill of the Pnyx above the modern road; and these had been superseded later by an aqueduct and cistern, which there seemed to be good reason for attributing to the sixth century. There were also some traces of a building for the distribution of the water. Thus considerable probability was gained for the theory of Professor Dörpfeld, that the Enneacrounos was in this part of the town, although at the same time there was no evidence certain enough to convince those who were committed to a contrary view.

At the sale of the Forman collection, a hydria with figures of Troilos and Polyxena was purchased for the British Museum. Cecil Smith, in the sale catalogue, described it as in the style of ‘Euthymides?’; but I cannot agree with him. Eight other vases by the same hand are known to me; and I beg leave to call this anonymous painter ‘the master of the Troiloshydria in the British Museum.’ He is no genius; but one of his vases, the krater in Copenhagen, is a respectable performance; and others are not without animation.