We have a period in which monster chases monster; then a period in which men kill monsters; then, when men begin to settle down, and to pass from the barbarous state of mere hunters into a more settled mode of living, freed from obnoxious wild animals, they fight against men. The conquerors have decidedly Aryan features, whilst the conquered have unmistakably Turanian faces. (See the work of Lord Hamilton.) At length we suddenly surprise them before the walls of Troy; the incidents of the Iliad are known, and furnish the potters with heroic subjects. Achilles and Hektor, Penelope and Ulysses, may be recognised; the first two in deadly combat, the two latter meeting after a long separation. The subject, in these Archaic vases and vessels, is not yet thoroughly purified, for amongst the heroes we see Gorgons with spread wings and lolling tongues. Other monsters, destroying animals, surround the principal actors of the drama as mere unconcerned ‘dummies.’ We accompany the development a step further, and observe that the monsters have a share in the action; they seem to take part _pro_ and _con_, like the gods in the Iliad, and, later, they appear in yet more purified forms as protecting divinities. It is as if the Iliad had first been drawn in clay by potters and improved upon, till at last it was shaped in its divine form, and edited under the name of Homer. _B._ The Hellenic, or classic, style of Greek pottery, based on the Archaic, shows great improvements in every direction. The paste is harder, finer, and well glazed, and the colours are less discordant. The red is of a fiery brightness, and the black without any spots--sometimes with a greenish hue. In the decoration great delicacy of shape and feeling is prominent. The figures are laid on with anatomical accuracy. The limiting frame is dispensed with, giving ampler scope to a freer and still more connected ornamentation. The curves are less protruding, and the transition from concave to convex lines is gentler. The canon of this period, that the vessel had to form in all its parts one continuous line, rendered these products sometimes stiff and over-regulated. The influence of the progress in the Attic style, however, soon corrected this evil, and the potters of Greece vied with the very best sculptors and painters in beautiful works. The Asiatic types of winged or unwinged monsters were merely used as grotesque or comical friezes, and soon began to disappear altogether, to make room for some useful animal, and, finally, to give place to frets or garlands of the most beautiful combinations. For the monstrous creations of an overheated imagination, heroes, gods, and goddesses were substituted. Perseus destroying Medusa; the Forge of Hephaistos; a triclinium with Herakles and Alkmene, Hermes and Athene; diskoboli and their teachers; Aphrodite at her toilette; Ares, Herakles, Athene, and Zeus driven in their quadrigas by Nikê; Elektra at the tomb of