When I maintained in a former chapter that the old artists had never made a fury, it had not escaped me that the furies had more than one temple, which certainly would not have been left devoid of their statues. Pausanias found some of wood in their temple at Cerynea, not large nor in any way remarkable. It would seem that the art, which had no opportunity of displaying itself on them, sought to make amends on the images of the priestesses which stood in the hall of the temple, as they were of stone and of very beautiful workmanship. (Pausanias Achaic. cap. xxv. p. 587, edit. Kuhn.) Neither had I forgotten that heads of them were supposed to have been found on an _abraxas_, made known by Chiffletius, and on a lamp by Licetus. (Dissertat. sur les Furies par Bannier; Mémoires de l’Académie des Inscript. T. v. 48.) Neither was I unacquainted with the Etruscan vase of Gorius (Tabl. 151. Musei Etrusci) whereon are Orestes and Pylades attacked by furies. But I was speaking of works of art, under which head I consider none of these to come. If the latter deserve more than the others to be included under the name, it would in one aspect rather confirm my theory than contradict it. For, little as the Etruscan artists aimed at beauty in most cases, they yet seem to have characterized the furies more by their dress and attributes than by any terrible aspect of countenance. These figures thrust their torches at Orestes and Pylades, with such a tranquil expression of face that they almost seem to be terrifying them in sport. The horror they inspire in Orestes and Pylades appears from the fear of the two men, not at all from the shape of the furies themselves.