The subjects in which human figures are introduced present still greater variety, and it need hardly be added that they are much more interesting. Subjects from the classical mythology are very common, and among the figures of the deities we recognize some, such as the Venus de Medici (fig. 277), which were copied from well-known models of art. Combats of pygmies and cranes appear as favourite subjects, as in the paintings, etc., in Pompeii. Sacrifices and religious ceremonies are not uncommon; and especially bacchanalian processions, and dances of bacchantes and satyrs--another proof that this ware was used for the festive board. The spirited manner in which figure subjects are often treated, will be seen by the engravings we have given, and by examples to be found in most collections. One vessel represents a bacchanalian scene, in which Silenus figures among satyrs and fauns. A faun is drinking from a horn supplied from a wine skin which he holds in his left hand, while Silenus attempts to snatch it from his hands. Genii, one of whom appears with wings on another fragment of the same vessel, appear to be directing or presiding over the scene. Among other very favourite subjects are hunting scenes, gladiatorial combats, and the sports of the amphitheatre. Others represent sacrifices and religious offerings. Musicians performing on various instruments are also common; and domestic scenes are depicted in great variety. Many of these are of a character not to be described, but sufficiently characteristic of the degraded state of morality under the Roman empire. The bowls here engraved (figs. 285 and 286) are good examples of these kinds of decoration. Another is ornamented with a series of figures, which appear to have no connection one with another. In the middle is a bacchanal with his thirsus; to the right of him a figure playing on a double pipe; on both sides a group of bears; and to the extreme right a charioteer, followed by a bear “rampant.” [Illustration: Fig. 286.] [Illustration: Fig. 287.] The great quantity of this Samian ware which is found on Roman sites admits of easy explanation, from the circumstance that it was held in great favour, and that the manufactories on the Continent continued to work with activity in producing it during the whole Roman period. The number of names of potters, collected from fragments found in England alone, amounts to more than two thousand, and we must suppose them to have been spread over a long period. [Illustration: Fig. 288.] [Illustration: Fig. 289.] [Illustration: Fig. 290.] [Illustration: Fig. 291.] Other examples of the common forms of Samian-ware vessels are given on figs. 288 to 291, and a clay mould for forming heads on pottery, discovered by myself at Headington, is shown on fig. 287.