In the second Vase-room of the British Museum the painting on one of these vases represents two persons sitting on a couch, upon which is a cushion of rich material, while for the comfort of the sitters there is a footstool, probably of ivory. Facing page 8 there is an illustration of a bas-relief in stone, "Bacchus received as a guest by Icarus," in which the couch has turned legs and the feet are ornamented with carved leaf work. Illustrations of tripods used for sacred or other purposes, and as supports for braziers, lead us to the conclusion that tables were made of wood, of marble, and of metal; also folding chairs, and couches for sleeping and resting, but not for reclining at meals, as was the fashion at a later period. In most of the designs for these various articles of furniture there is a similarity of treatment of the head, legs, and feet of lions, leopards, and sphinxes to that which we have noticed in the Assyrian patterns. [Illustration: GREEK FURNITURE. (_From Antique Bas-reliefs._)] The description of an interesting piece of furniture may be noticed here, because its date is verified by its historical associations, and it was seen and described by Pausanias about 800 years afterwards. This is the famous chest of Cypselus of Corinth, the story of which runs that when his mother's relations, having been warned by the Oracle of Delphi, that her son would prove formidable to the ruling party, sought to murder him, his life was saved by his concealment in this chest, and he became ruler of Corinth for some 30 years (B.C. 655-625). It is said to have been made of cedar, carved and decorated with figures and bas-reliefs, some in ivory, some in gold or ivory part gilt, and inlaid on all four sides and on the top. The peculiar laws and customs of the Greeks at the time of their greatest prosperity were not calculated to encourage display or luxury in private life, or the collection of sumptuous furniture. Their manners were simple and their discipline was very severe. Statuary, sculpture of the best kind, painting of the highest merit--in a word, the best that Art could produce--were all dedicated to the national service in the enrichment of Temples and other public buildings, the State having indefinite and almost unlimited power over the property of all wealthy citizens. The public surroundings of an influential Athenian were therefore in direct contrast to the simplicity of his home, which contained the most meagre supply of chairs and tables, while the _chefs d'œuvre_ of Phidias, Apelles and Praxiteles adorned the Senate House, the Theatre, and the Temple.