Many instances might be given of vase-paintings which reflect, or assist our knowledge of, the products of the higher arts. Even as early as the end of the sixth century the group of the Tyrant-slayers, the creation of Antenor and of Kritios and Nesiotes, is found repeated on a black-figured vase[6]; and the early _poros_ pediments from the Athenian Acropolis find an interesting parallel in an early Attic vase of about the same date.[7] So again in Ionia, the style of the sculptures of the archaic temple at Ephesos finds its reflection in some of the local sixth-century vase-fabrics.[8] Coming to the fifth century, the heads in Euphronios’ paintings may be compared with some of the Attic heads in marble, like that of the ephebos from the Acropolis.[9] Combats of Greeks with Amazons and Centaurs on later R.F. vases often seem to suggest a comparison with the friezes of Phigaleia and Olympia; a figure from the balustrade of the Nike temple is almost reproduced on a R.F. vase,[10] and the riding youths of the Parthenon frieze on some of the white Athenian lekythi; and the Kertch vase with the contest of Athena and Poseidon (Plate L.) is of special interest as an almost contemporary reproduction of the Parthenon west pediment. In painting, again, the later R.F. vases in many instances reflect what we know of the style and composition of Polygnotos’ paintings, and there are many instances on the vases of the subjects treated by him and Mikon.[11] It is not necessary here to say more of the importance of a study of Greek vases on the several lines that we have pointed out. It is sufficient to say that specialists in all these branches of Archaeology instinctively turn to vases for the main source of their information. * * * * *