The species will mark the more or less close adherence to the forms of these capsules.

A Punic bottle, in the British Museum, and of conical form, resembling the capsule of the Nelumbium, but inverted, and with the addition of a taper neck and cruet lip, as also the truncated conical form of certain cups of heavy black ware, to be found in most collections, are strongly characteristic of the first genus.

The ordinary bell-shaped vase also resembles, but more faintly, the full grown, and somewhat flattened capsule of the Nelumbium; while others of this kind, more cylindrical, may be compared to an enlarged capsule of the same plant, after most of the petals have fallen off. These are the vases which have handles at the bottom of the bowl, and just above the stem.

The spheroidal form of the fruit of the Nymphæa Lotus may be discovered in those vases of Campania, which are remarkable for having upright ears, each formed of two stems connected at the top, and two pairs of knobs on the shoulder of the vessel. These, I conceive, were suggested by the petals, which are disposed, eight in a circle, round the bulb of the capsulet, after it is enlarged, and when the summit, overtopt by the shoulder, becomes buried within the bulb. In this instance, four of the leafits may be supposed to remain erect, the other four to have fallen off, leaving so many scars behind.

In the large Apulian vases, as they are termed, an allusion to the egg has been superadded to that of the vegetable; but the handles are derived from the fertile petals, or stamina, incurved towards the lip of the vase, or the summit of the capsule. Many varieties of what I term

* The purple-figured ware is usually termed Punic; but some of this class were probably manufactured in very early times at or near Corinth, as Dodwell (Travels in Greece, vol. ii. p. 196, 197.) bought one of this description, inscribed with Greek characters, in that neighbourhood.

This particular disposition of the eight petals round the bulb has been very curiously imitated upon three vases of heavy black ware in the British Museum, by four mouldings resembling a pointed Gothic arch, in addition to the handles. See the vignette, page 135. of this Appendix. One of these is engraved in the great work of D'Hancarville, vol. iv. plate LXX.

the Lotoidal Genus are formed by the addition of a neck with a spout or lip.

The tazza was derived from the summit of the capsule of the Nymphæa Lotus; and this summit, after subsiding, and becoming, as I before mentioned, buried within the bulb of the capsule, suggested the suddenly contracted throat of the lachrymatory vase.

The compressed form of some vases directs us to the Nymphæa alba for their original model. The connection of the common lamp, among the Greek fictilia, with this third family, may be thus traced. Its compressed and ribbed form represents the oblate spheroidal assemblage of seeds within the fruit of the white water-lily (Nymphæa alba), after the bursting of the coat which contained it. The spout and handles are accessories.

Certain Campanian vases may be termed urceolate, or of bottle shape; globular at the bottom, then gradually lessening in the neck, and as gradually expanding again at the wide reflected lip. This is precisely the form of the capsule of the Nuphar lutea of Greece and Britain. In this country it is very significantly designated, "the yellow water-can."

These I conceive to have been the chief models for the forms of Greek vasest: but it is possible that the pericarpia and seed-vessels of other plants were resorted to by the ancients; as of the pomegranate, poppy, and many more. Lastly, the numerous crepundia of diminutive pottery are referable to the seed-vessels of a multitude of plants, which it might be very interesting, though difficult, to distinguish.

I now subjoin a more detailed classification of the whole :

* The corolla of the Nymphæa, after florescence, sinks beneath the water, to enable the fruit to swell to its peculiar form. When the capsule of the Nymphæa alba has attained this, the outer coat bursting, excludes the oblate spheroidal mass, in which the seeds are embedded. The summit at the same time starts from its seat entire, and discloses the perforation in the centre of the glutinous mass. The surface of this is ribbed, which is scarcely apparent through the coat which forms the capsule.

+ The large Sicilian vases seem to be of a mixed character; the bulb of the vessel being designed from the fruit of the Nymphæa Lotus, while the neck partakes of the. conical form of the fruit of the Nelumbium.

CLASSES.

I. The Purple-figured.
II. The Black-figured.
III. The Illumined.

IV. The Plain.

CLASS I.-Purple-figured.

Order I. Figures on a pale ground.

CLASS II.-Black-figured.

Order I. Figures on a red ground.

II. Figures on a pale ground.

III. Figures assisted with green or purple.

IV. Black figures on a red ground, the ground of the vase being

black.

CLASS III.-Illumined.

Order I. Figures exhibiting the red clay, or warmed by a red var

nish, on a black ground.

II. Figures on a pale clay.

III. Figures relieved with white, or yellow, or purple enamel.
IV. Figures on a white priming.

V. Figures painted in opake colour.

VI. Ornaments only in white or yellow enamel on a black ground.

Order I. Pale clay.

CLASS IV.-Plain.

II. Pale clay warmed with a varnish.

III. Black.

IV. Black tooled.

The terms used in these tables are designed to convey a near idea of the several forms of vases; but they must not be understood to define them with mathematical precision.

+ It has been my intention to omit altogether, from these tables, vases that exhibit ornaments painted rather with a dull red colour than purple, upon a pale, coarse, and heavy clay. Such vases are rather Tuscan than Greek, and of little interest compared with that ware which is usually termed Carthaginian. If it were desirable to notice them, they might form a second order under Class I.

I refer to the great work of D'Hancarville, in four volumes folio, descriptive of the original collection of vases of Sir William Hamilton, now in the British Museum.

Species 3. Oviform,

4. Expanded,

Two handles on the neck, throat contracted suddenly.

Two handles horizontally looped.

Genus NYMPHÆO-ides.

Species 1. Oblate spheroidal,

2. Utriform*,

3. Oblate spheroidal,
more or less com-
pressed,

Two handles looped very low, erect, throat open.

(a.) Handle looped above, position of the neck eccentric, lip flat, throat open. D'Hancarville, vol. i. plate 113.

(b.) Handle none, throat central, between two taller and narrow necks.

One specimen of this in the Hope
Museum.

(a.) Shoulder oblique, one handle erect, acutely looped, broad and flat, lip flat, throat open.

D'Hancarville, vol. i. plate 46.

(b.) Neck none, throat open, one handle horizontally disposed, and waved.

* I have included this species, because it appears among the engravings in the work of D'Hancarville. But it is probably no other than coarse Tuscan ware.