Recent literature on this Hymn is almost limited to the notes of R. Peppmüller, Philologus, 1884, p. 196 sq., 1894, p. 253 sq., and H. Pomtow, Neue Jahrb. f. Phil., 1886, p. 176, and the articles of A. Kirchhoff, Sitzungsberichte der preuss. Akad. xlii. 1893, and A. W. Verrall in this Journal vol. xiv. pp. 1 sqq. (1894). For Apollo we have the account by Roscher in his Lexicon; Mr. Farnell (Cults of Greek States) has not yet treated him.

Want of illustration and of positive information upon the topics with which the Hymn deals, is the chief stumbling block to its interpretation. We are practically entirely ignorant, so far as other sources are concerned, at these places: the geographical names 32, 35, 40, 217, 422, 423; the nature of Eilithyia's necklace 103; the recitations at the Delian festival 156 sq., Apollo's ‘brides’ 208 sq., the observances connected with chariots at Onchestus 230 sq., the epithets of Apollo 373, 496; the part taken by Cretans in the Delphic worship 393 sq.

During my last visit to England, which was chiefly devoted to preparatory work for the forthcoming volume of my Corpus of Sarcophagi, Mr. Cecil Smith was kind enough to draw my attention to a small series of Roman sarcophagi which Mr. Astor has at Clieveden, and which, after the manner of Roman amateurs of the Renaissance, he has arranged in the garden of the property. As this important communication only reached me on the last day of my stay in London, and as it was impossible for me to delay my return to Germany, I was unfortunately obliged to abandon any idea of visiting Clieveden; but through the friendly intervention of Mr. Cecil Smith, and by the kindness of the owner, I was enabled to obtain excellent photographs which enable one with sufficient accuracy to form an opinion as to the style and condition of the originals. Mr. Cecil Smith further suggested that the Editors of this Journal would welcome a short notice of these interesting monuments in its pages: an honour for which I wish to express my warmest thanks. For the rest, I would ask that the following remarks be taken as an appendix to Michaelis' Ancient Marbles in Great Britain: in the case of the Theseus sarcophagus alone, which is in many respects peculiar, I have been obliged to go more into detail.

The two vase fragments reproduced in the accompanying illustration were among those brought by Mr. Hogarth from Naukratis in 1903, and are now in the Ashmolean Museum at Oxford. The subject is painted in black silhouette, no other colour occurring in the fragment of the scene which remains: incised lines are used, not only for the inner markings, but for a great part of the outlines. Immediately below the design are two bands of purple: below these again the vase, which was of considerable size, was covered with black paint. The execution is careless, the paint of the design being very unevenly applied.

Professor G. E. Rizzo, in his Saggi Preliminari su L'Arte della Moneta nella Sicilia Greca—a book beautifully produced, and ennobled by Bar Pennisi's wonderful photographs—has done me the honour of quoting several passages from a lecture delivered before the British Academy in 1934, and published in volume XX of its Proceedings under the title Late Archaic and Early Classical Greek Sculpture in Sicily and South Italy.

Since his quotations embody some variants from what I wrote, he will perhaps allow me to correct the more ingenious, leaving aside those where only his English is at fault and any reader interested in accurate scholarship can compare my original text with his rendering of it. But after disposing of this personal matter, and ignoring the frequent abuse which serves to add bulk and save reasoning, I shall quickly pass to a consideration of certain features of his archaeological method; not doubting the prolonged, profound and silent studies here proclaimed, but attempting to judge them rather by their results than by their advertisement.

Miss W. Lamb has kindly asked me to publish the terracotta sarcophagus in Cambridge, which comes from Rhodes. Fig. 1 explains the system of reference to the various parts of the face of the typical Clazomenian sarophagus. Unless it is otherwise stated, figures and heads of men and animals face towards the centre of the sarcophagus.

The sarcophagi listed below consist of five found in Rhodes and presumed to be of local manufacture, and of three probably from Clazomenae which are loosely related.

It is a well-known fact, of which proof in recent years has not seldom been forthcoming, that the sea, on the rare occasions on which it has revealed to us its archaeological secrets, has nearly always given us beautiful works, for the most part in bronze, far better preserved than the discoveries on dry land. That, however, it should one day have presented us with what is certainly one of the most perfect works of just the most obscure period of Greek art in the fifth century B.C., belonging to those years of the Pentekontaetia from which we should have so much desired to have an original statue, was beyond even the most optimistic of hopes. Such is the principal find made in the sea off Artemision in Euboea in October 1928 (Pl. VII).

There is no doubt that we have before us the figure of a god. That is shown not merely by its height (ca. 2·10 m.), but also by the character and spirit incorporated in it. Its stance, the manner of its movement (a movement which has also at the same time an inner balance and poise), various details of the body and the hair—all show that it is a work belonging to about 460 B.C. It is easy for us to distinguish figures spiritually and stylistically analogous on other monuments of this period (cf. e.g. a Poseidon on an amphora at Würzburg: Gerhard, Auserlesene Vasenbilder, xi. 1).

Basic Structure: A broad flight of twenty-one steps leads up from the south-west angle of the Temple of Apollo to a partially paved court immediately in front of the lower face of the scarp. This is given a quadrilateral delimitation by the angular revetment of an irregularity in the scarp to the west, and by the monumental water tank to the east of the entrance to the grotto. The entrance was hewn in the cliff face in the form of three arches (now much destroyed), and was revetted with large well-draughted limestone blocks. Of these, only the lower two courses are now in situ, but individual blocks of the upper courses have been collected and amongst them are those with crowning mouldings and one bearing the fragment of a Greek inscription (height:of letters, 25 cm. approximately).

The interior of the grotto consists basically of a central oblong depression, paved and cemented, surrounded on the two sides and the back by a raised staging—thus giving rise to the term of reference ‘TRICLINIUM’—while between the staging and the walls are the tanks and channels: associated with the water supply and drainage.

Considered longitudinally, the interior may be divided into three entities. The first extends from the entrance to a pair of rock-hewn columns bearing rude inscriptions. Immediately above this compartment lay the terrace of an ancient rock-cut path and its collapse has breached the path and totally unroofed this section of the grotto.

Plate V represents a small Attic bell-krater in the collection of Mr. Edward Armytage, who has kindly permitted its publication. The subject is novel: it appears to be the arrival in Attica of Theseus, and shews in detail a close correspondence with our main literary source, the seventeenth ode of Bacchylides. The two youths on the left are the two companions of Theseus, Peirithoos and Phorbas—δύο (F)οι φῶτε μόνους ὰμαρτεῖν λέγει (l.c. line 45). They arein travelling costume, booted and cloaked, wearing ephebic fillets and bearing pairs ofspears—ξεστοὺς δὲ δύ᾿ ἐν χέρεσς᾿ ἀκοντας (1. 49, though said of Theseus himself, not of his comrades).

Interpretations of metal graters and pottery tripod bowls as Leitfossils of a trans-Mediterranean ‘orientalizing’ culture of spiced-wine consumption have of late become a staple of scholarship on sympotic banqueting, shaping our perception of ancient wine-drinking and its role in cross-cultural interaction in the first half of the first millennium BC. Yet a closer look at the evidence for spiced wine and the use of graters casts serious doubt on assumptions of a widespread practice of adding ‘spices’ to wine during the Greek symposion and of the use of graters or tripod grinding bowls for such a purpose in the Mediterranean and Near Eastern world. A more plausible scenario, it is argued, arises from the well-attested association of graters with cheese and other primarily culinary commodities. It sees the grater’s prime function and symbolic significance shift from a use in Early Iron Age ‘Homeric’ hospitality to becoming a tool in the increasingly complex cuisines associated with the Archaic and Classical banquet – an indicator of evolving Mediterranean commensality with no less of an international horizon, but a commensality that involved interaction and shared consumption beyond the narrowly sympotic.

Students of archaeology are now familiar with the splendid work in which Constantin Carapanos two years ago gave to the world the results of his discoveries at Dodona. The vexed question of the site of the ancient temple was finally set at rest, it will be remembered, by the discovery of a large number of inscriptions recording dedications to Zeus Naïos and Dione. The immense quantity of relics and works of art brought to light in the course of the excavations has been exhaustively catalogued in the work, Dodone et ses Ruines, and they have been illustrated and described by various scholars and reviewers. The inscriptions, too, have, at least on the Continent, come in for some share of notice and criticism. A detailed account of these inscriptions—their contributions to the lexicon, to dialectology, to local and general history, and to topography—is still a desideratum. For, as was only to be expected, the interpretations and criticisms of Carapanos himself are rather general than critical. His text, moreover, is frequently open to objection.

In a classification of these inscriptions our attention is at once drawn to an obviously new category; and it is with this alone that we propose to concern ourselves in the present article. The category comprises a quantity of more or less legible inscriptions engraved upon one or both sides of leaden plates often not exceeding a millimetre in thickness. These plates form a unique series of documents belonging to the archives of the famous oracle at Dodona, and contain the questions addressed, or prayers offered, to the deity by his votaries, who might be either communities or individuals.

Some of the most magnificent representations of chariots in mid career are seen on the coins of Sicily and Southern Italy toward the close of the fifth century B.C. There are two major theories concerning the appearance of these striking compositions in Sicilian numismatic art. One theory is that dies for these coins are the independent products of local, native artists of highest competence. The other is that the dies for these pieces are the work of Attic artists who migrated to the prosperous cities of Sicily to take up new careers as workers in the minor metallic arts, as gem cutters, and as die sinkers for the various local rulers. We lack positive evidence. We cannot identify any artist who left Attica to pursue work of this type in Southern Italy or Sicily. Scholars have produced a mass of conjecture and speculation on this subject.

The treatment of space and depth in the chariot compositions seems to the writer to provide a new possibility for grouping and relating the representations of chariots in the late fifth century—both those on the major monuments in sculptured relief and those on the Tetradrachms and Dekadrachms of Syracuse and Akragas. From a restudy of the methods of relief representation and from a survey of information derived from such connecting links between major sculpture and coinage as silverware, gems, and vases further light may be thrown on the problems of the artistic derivation of the renowned die compositions of later fifth-century Sicily.