See _Journ. des Savans_, March 1862, p. 163; _Rev. Arch._ vii. (1863), p. 259 (name of Ptolemy wrongly read as Kleopatra); _Arch. Zeit._ 1869, p. 35; Rayet and Collignon, p. 372. Footnote 441: _Gazette des Beaux-Arts_, Nov. 1876, p. 385 ff. Footnote 442: Von Rohden, _Terracotten von Pompeii_, p. 29. Footnote 443: Hettner in _Festschr. für J. Overbeck_, p. 169. Footnote 444: _Archaeologia_, xxxii. p. 452 (Ewell); British Museum, Romano-British Room, Case H. Footnote 445: Mazard, _De la connaissance par les anciens des glaçures plombifères_; cf. Blümner, _Technol._ ii. p. 89. Footnote 446: On the subject generally see Dumont-Pottier, i. chap. xiii.; Rayet and Collignon, p. 365 ff.; Daremberg and Saglio, _s.v._ Figlinum, p. 1131; and for the Graeco-Roman enamelled wares, _Bonner Jahrbücher_, xcvi. p. 117, and Mazard, _op. cit._, where a full description and list of examples is given. CHAPTER IV _USES AND SHAPES OF GREEK VASES_ Mention of painted vases in literature—Civil and domestic use of pottery—Measures of capacity—Use in daily life—Decorative use—Religious and votive uses—Use in funeral ceremonies—Shapes and their names—Ancient and modern classifications—Vases for storage—Pithos—Wine-amphora—Amphora—Stamnos—Hydria—Vases for mixing—Krater—Deinos or Lebes—Cooking-vessels—Vases for pouring wine—Oinochoe and variants—Ladles—Drinking-cups—Names recorded by Athenaeus—Kotyle—Skyphos—Kantharos—Kylix—Phiale—Rhyton— Dishes—Oil-vases—Lekythos—Alabastron—Pyxis—Askos—Moulded vases. Those who are acquainted with the enormous number of painted vases now gathered together in our Museums, showing the important part they must have played in the daily life of the Greeks and the high estimation in which they were clearly held, as evidenced by the great care bestowed on their decoration and the pride exhibited by artists in their signed productions, may feel some surprise that so few allusions to them can be traced in classical literature. Such passages as can be interpreted as referring to them may actually be counted on the fingers of one hand, and even these are but passing allusions; while any full descriptions of vases, such as that in Theocritus' first Idyll or some of those in Athenaeus’ Book XI., almost invariably refer to metal vases with chased designs. Nor can we trace any reference to known potters or artists in literature or documents, save in a few inscriptions recently found at Athens, which are, of course, of secondary importance for literary history.