¹ I am indebted to Professor Percy Gardner for this: one debt remembered out of the hundreds I have lost sight of.

² Furtwängler, , Aigina, Text, p. 257Google Scholar.

³ E.g. Duris cup at Vienna; Reinach, , Rép. Vases, i 174Google Scholar.

⁴ Amelung, , Catal. Vatican, Chiaramonti, 592Google Scholar; Text i. 710, Pll. I. 76; also Dar.-Sagi. Tig. 775; Roscher, i. 2002.

⁵ That is, in the Campus Martius near the Thermae Agrippae and the Stadium Domitiani.

⁶ Antike Himmelsbilder, 1898.

⁷ Appendix, p. 263, n. 15 to p. 93.

⁸ De Ling. Lat. i. 6.

⁹ B. M. C. Alexandria, 1078, 1079.

¹⁰ Medallions, Aboukir, third cent. A.D. (Jahrb. 1908, p. 163Google Scholar; Journ. Intern. Num., 1907; Dressel, , Abhdl. Beri. Akad. 1906, esp. n. oh p. 26Google Scholar, though the Aeschylus reference is not to the point); Achilles', shield on Iliac table, Rüm. Mitth. 1891, pp. 183Google Scholarsqq.

¹¹ See Cumont, , Textes et Monuments figurés relatifs aux mystères de Mithra, ii. and i. p. 110Google Scholar.

¹² Arch. Zeit. 1877, Pl. III.

¹³ Rev. Arch. xl. Pl I.

¹⁴ A shield occurs as a Mithraic monument in Cumont, ii. Mon. 176, Fig. 158. The border seems to be the ‘Labours’ of Mithra.

¹⁵ Cumont, ii. Pll. VI, VII.

¹⁶ J.H.S. xvii. 1897, pp. 306sqq.

¹⁷ E.g. Dar.-Sagl. 2536.

¹⁸ It is hard to see why Furtwängler in Roscher i. 694 admits a connexion with the peplos but rejects any connexion of this statue with the Polias.

¹⁹ The same type of Pallas occurs on coins of Claudius and Domitian (an interesting denarius); on the Aboukir medallions it figures on Alexander's armour beside a fighting giant (Dressel, l.c., Plate II. c). It differs from the real Palladion type in the position of the feet.

²⁰ Graef, Die antiken Vasen der Akropolis zu Athen, Pl XXIV.

²¹ Gerhard, Trinkschalen, Pl IV.

²² ῾ Εφ.᾿ Αρχ 1885, Pl V. 3.

²³ On the Talos, vase (F.B.B. 38–39Google Scholar) the Dorder figures on the Dioscuri's chitons seem to be a Gigantomachy.

²⁴ Dar.-Sagl. 2255.

²⁵ It is now generally accepted that in this type the influence of stage dress and ‘properties’ is predominant; stage dress in turn was a survival of ancient costume.

²⁶ Note especially the Athena on a Panathenaic amphora, Keinach, , Rép. Vases, i. 212–3Google Scholar.

²⁷ E.g. ῾ Εφ.᾿ Αρχ 1883, Pl III.; Jahrb. 1893, Pl I.

²⁸ Mon. Orees, ii. Pl XI.

²⁹ Delphes, iv. Pl. XXI. 4th field.

³⁰ Rev. Arch. 1872, Pl XV.

³¹ Arch. Anz. 1909, p. 98. It is likely that such figures as the Louvre mirror-handle or the figure with rosettes on the Olympian cuirass are derived from this early enlt type. Cp. also Spartan ivories, B.S.A. 1906/7, Pl IV. and Fig. 32.

³² Reinach, , Rép. Vases, i. 212Google Scholar, 4; 215, 1; 68, though here changed in position.

³³ Antike Denkmäler, i. 19.

³⁴ Ant. Denkm. ii. 50.

³⁵ Graef, Pl XXXVI.

³⁶ Complete references in Aigina, Textband p. 395. The use of these bronze strips is uncertain; it seems very possible that they are from shields—an additional suggestion which I; hope to develop and add to the many piled up already.

³⁷ Vide Ant. Denkm. i. 22.

³⁸ Phineus vase, Reinach, , Rép. Vases, i. 200Google Scholar; gem in Roscher, ii. 1711; Dar.-Sagl. 4760.

³⁹ Dar.-Sagl. 417, 931, 1208, 2369, 2358; Roscher, ii. 1943, 2574, iii. 779, 1807, 2330.

⁴⁰ Ant. Denkm. ii. 14.

⁴¹ Arch. Zeit. 1857, p. 61.

⁴² Kunstmythologie, ‘Zeus,’ p. 376 (1871).

⁴³ Dar.-Sagl. Gigantes, ad fin.

⁴⁴ Furtwängler-Reichhold, 96.

⁴⁵ B.M.C. Pelop. xxxv. 6.

⁴⁶ B.C.H 1895, Pl. XIII.

⁴⁷ Roscher, , Rép. Vases, iii. 970Google Scholar

⁴⁸ Cp. Hill, , Hbk. of G. and B. Coins, vii. 10Google Scholar, with viii. 1.

⁴⁹ See Reinach, , Rép. Vases, ii. 256Google Scholar, Brygos style.

⁵⁰ Cp. Reinach, , Rép. Vases, ii. 41Google Scholar.

⁵¹ Dar.-Sagl. 3561.

⁵² Reinach, , Rép. Vases, ii. 41Google Scholar.

⁵³ Cnidian frieze, and Remach, , Rép. Vases, ii. 256Google Scholar.

⁵⁴ Mon. d. I. v. Pl. XII.

⁵⁵ For the giant's pose cp. the Villa Albani relief of the death of Kapaneus by lightning (Roscher, ii. 951).

⁵⁶ Reinach, , Rép. Vases, ii. 120Google Scholar.

⁵⁷ Ant. Denkm. ii. 15, 4.

⁵⁸ Dar.-Sagl. 5091.

⁵⁹ Cumont, ii. Pl. VI.; Strong, Rom. Sculpt., Plate XCV.

⁶⁰ See especially coins of Messene and the Olympia Bronzes, Pll. VI. and VII.

⁶¹ Very commonly Dionysus is helped by the panther, on the Megarian pediment at Olympia Poseidon by a sea-monster, at Pergamum Zeus by the eagle, and so on—the Monteleone chariot (Brunn-Bruckmann, , Denkmäler, 586–7Google Scholar) gives a good instance.

⁶² Professor Treu refers for proof to the rocks on which the giants support themselves in fields 5, 6, 7, 10. The argument does not seem conclusive, for there the rocks are essential to the motive, whereas here it would be merely a picturesque addition without parallel in the other fields. If so, then it is grist to our mill; this especially favoured field must present the chief divinity.

⁶³ Both the Paris cup (Reinach, , Rép. Vases, ii. 256Google Scholar) and the Aristophanes cup.

⁶⁴ The decorated band would then be a document of first-rate importance as an antique copy of some presumably well-known monument.

⁶⁵ Pyl is wrong in regarding this drapery as exceptional on the giants; Poseidon's opponent has some wrapped round his left arm, and the giant in 3 wears an animal's skin.

⁶⁶ Cp. Reinach, , Rép. Vases, i. 14Google Scholar, 406, 452, 510, 511; ii. 324, where the drapery is very similar in most cases.

⁶⁷ Ant. Denkm. i. 42, 2. The sculptures of this arch are of course plunder from a Flavian monument.

⁶⁸ Dar.-Sagl. 2371, 3562 (the Mattei relief, a combination of the earlier types both of Artemis and the giants with the later) and a bronze in the British Museum (B. M. Bronzes, Pl. XI.) are good instances from the fifth century on.

⁶⁹ B.C.H. 1895, Pll. XIII., XIV.

⁷⁰ Ant. Denkm. i. 43, 8.

⁷¹ Cp. the Gregoriano, Museo bronze strip (Ant. Denkm. i. 21)Google Scholar, where he is last.

⁷² For the position we may compare Delphes, iv. Pl. XXI. (fifth field) and J. H. S. xiii. Pl. IX.

⁷³ So deliberately in archaic vases (Reinach, , Rép. Vases, 255Google Scholarbis, 451, 452).

⁷⁴ How freely sculpture and painting could be interchanged in the late period has been recently proved by the extraordinary finds reported from Cyrene, J.H.S. xxxi. p. 301Google Scholar) of Statues on which the faces were not carved but painted. With such documents as the Pagasae or the South-Russian tombstones, and the sarcophagi from Carthage, (Mon. Piot, 1905Google Scholar), we are only now beginniug to realise what share painting took in sculptural work in the later periods.

⁷⁵ Cp. the fields on the handles of the François vase (probably after a bronze model) and the Acropolis vase by Nearchus, Graef, Pl XXXVI.

⁷⁶ Graef, Pl XXXVI.

⁷⁷ The Bologna Krater, Furtwängler-Reichhold, 75, 76.

⁷⁸ Rev. Arch. 1896, Pl. XIV.

⁷⁹ Arch. Am. 1902, 45.

⁸⁰ Dar.-Sagl. 58 and 59.

⁸¹ Roscher, ii. 1650.

⁸² See Cumont, ii., especially the large plates Their motives, too, are of interest, for many of them are obviously taken from fifth-century work.

⁸³ Roscher, sub ‘Omphale,’ Fig. 7, Nat. Museum, Naples.

⁸⁴ Journal of Roman Studies, i. Pl. V. This article was set up before I saw Mrs. Strong's valuable paper. I can now only refer the reader to her notes on Míthra, p. 14 and the Igel Säule, pp. 24–26. The figures on the uprights in Plate V do not look like putti.

⁸⁵ A bronze (Museo Borbonico, vii. Pl. LXI.; the base, of Roman date, is later than the statue) and a suspect marble (Ann. d. I. 1854, p. 93, Fig. 23).

⁸⁸ Guide to Grk. and Rom. Life, p. 103, fig. 91.

⁸⁷ Cp. the different schemes adopted in different centuries to decorate (i) the saudals of Athena Parthenos (continuous battle scene), (ii) the Conservatori sandal (Lyeosura, , J.H.S. xxxi. 308Google Scholar), (iii) the base of Herakles' statue above. All presented the same problem. So did the Ephesus bases. The labours of Herakles appear metoped on a late sarcophagus to be contrasted with the continuous scenes of earlier monuments of the same shape.

⁸⁸ Cp. Pausanias, viii. 42. 7.