1. The _oligochromatic_, from ὀλίγος {oligos} (small), and χρῶμα {chrôma} (colour). 2. The _polychromatic_, from πολύς {polus} (many), and χρῶμα {chrôma} (colour). I. The _oligochromatic_ class of Greek pottery may be divided into two distinct styles: _a._ The Archaic; _b._ The Hellenic. _A._ As soon as the wheel became generally used, a finer paste was required, fit for exposure to a greater heat, and for the production of a greater variety of vessels. In the beginning the paste was coarse-grained and of a yellowish-grey; later it was fine, and the colour homogeneous. The glazing was without lustre, brownish-black, and spotted, proving a want of experience in baking. We have violet, brownish-red, and white tints badly fixed on the black glaze. With the exception of Pithoi (wine jars) found at Thera, the vessels belonging to the Archaic style are generally of moderate size, broad and compressed, with sudden and bold interruptions of the curves, and abrupt unions of the extremities. The ornament is not yet an integral part of the vessel. The general forms are cups, pots, flasks, &c., all being entirely black. Some are ornamented with yellowish or white points, or with simple lines drawn all over the vessel. By degrees a clearer understanding of the laws of ornamentation is perceptible; the ornamentation becomes restricted to the bulge, whilst rings, meanders, and floral ornamentations mark the upper and lower parts of the vessel. A further progress may be seen in the treatment of ornamentation in the animals which surround the vessels in parallel circles. Highly interesting are the flowers, balls, and _crosses_ on these oligochromatic vases. With the progress of civilisation we find the human figure introduced, surrounded, however, by monstrous combinations of Asiatic origin. Genii, with and without wings, make their appearance; then divinities amongst lions, panthers, ostriches, and a profusion of symbolic representations. Swans are either tamed, chased, or killed. The spirit of Persepolis and Nineveh, of Phœnicia and Egypt, animates these pre-Homeric compositions; they are entirely incomprehensible. This pottery of the Greeks is of the very highest interest; we may advantageously study in it the progress of civilisation amongst them.