First, I have to offer some reflections on the general character of the discoveries, and on its relation to the state of Art exhibited in the Poems. It seems reasonable to believe, especially after what has been shown by Mr. Gardner respecting the four tombstones, that they constituted the contemporary seal of a great deposit. It results, I think, from the evidence before us that it is impossible to reduce to one school or style or stage of art the whole of the objects exhumed. But on this I would observe first that, although they were simultaneously deposited in honour of the dead, they might have been the productions of more than one generation: secondly, that not only are we not required, but, in so far as we draw light from the Homeric Poems, we are hardly permitted, to refer them collectively to a domestic origin. I gather from Mr. Gardner's report that the Art exhibited on the Pottery is more uniformly backward, than that exhibited by the works of metal. But this pottery, which was, whether wheel made or hand-made, of an early stage in the manufacture, was far more likely to be domestic; while the works in the precious metals might be imported. Or they might be the productions of foreign artists, attracted to the Court of Agamemnon; in the same manner as we find that Daidalos, whose name, however mythical, represents a foreign influence, executed in Crete, for Ariadne, the representation of a dance in metal. The discovery, or the inspection, of the works must without doubt in the first instance suggest a reference of them to a local school of goldsmiths. But, considering the numerous points of contact between the discoveries and the Homeric Poems, it is important to know whether, and how far, they really favour such a supposition. This is not the place for an examination in detail of all the works of Art mentioned by Homer. I believe there is no one of them, of which the purely Greek origin can be established by proof from the text, while the manufacture abroad and importation are frequently mentioned. At the same time, there are some considerations which tend to show that, if there were local workmen in Greece capable of producing objects such as those now exhumed, it is at Mycenæ that we should expect to find them. First, on account of the wealth of the city, and of its position as the capital of the country. Secondly, on account of the wealth of Agamemnon personally, and his acquisitiveness if not his avarice, which made him eager to spoil those whom his spear had slain, and which is the subject of varied allusions in the _Iliad_. It must be remembered that in those days works of art were not merely ornamental, but were a favourite form, as their name (_keimelia_) shows, of stored wealth: and of these, even in Troas, Agamemnon possessed many (_Il._ IX. 330). Thirdly, an indication, perhaps, more significant, may be drawn from the remarkable passage in the Eleventh Book (15-46), which describes the arming of Agamemnon for the field.