When, however, we come to the imitation Greek vases of the third and second centuries, we find a curious reversion to the old Greek practice of inscribing the names of the figures and even sentences on the paintings themselves. Some of these have already been mentioned. The best example is afforded by the krater with Admetos and Alkestis, on which the names of the two principals are given as [ΑΤΜΙΤΕ], _Atmite_, and [ΑΛCΣΤΙ], _Alcsti_; while by the side of the figure of Charun is a long inscription 15[46]ΕΓΗ: 15[72]ΕΑΣΓΕ: 15[56]ΝΑΓ: 15[94]ΑΤΔΛΜ: 14[96]ΦΛΕΔΟΔΓΕ On the vase with Ajax and Penthesileia the names are given as [ΑΙFΑΣ], [ΨΑΔΥ], [ΠΕΝΤΑΣΙΛΑ], and [ἹΝΘΙΑΛ] [TYRMYGAS]. On a vase mentioned by Gerhard, Nike inscribes on a shield the word [ΑΝΣΑΛ], _Lasna_.[2336] § 2. ETRUSCAN TERRACOTTA WORK It remains to say a few words on the other uses of clay among the Etruscans. This subject has indeed been discussed to some extent in Chapter III., regarding the use of clay in general in classical times. But there are some features of work in terracotta which are peculiar to this people. For their extensive use of this material we are quite prepared by the evidence of the pottery found in their tombs, which shows that they understood the processes of manufacture perfectly, even if they failed in their attempts at decoration. As we shall see, they employed it constantly, not only for finer works of art, but for ordinary and more utilitarian purposes. This we know not only from the existing remains, but from many passages of ancient writers, who speak of the Etruscan preference for clay and their skill in its use.