have lost the extreme elongation of the earlier school. The limbs are fuller and thicker, the faces noble, the hair of the head and beard treated with greater breadth and mass, as in the style of the painter Zeuxis, who gave more flesh to his figures, in order to make them appear of greater breadth and more grandiose, adopting the ideas of Homer, who represents even his females of large proportions. The great charm of these designs is the beauty of the composition and the more perfect proportion of the figures. The head is oval, three-quarters of which are comprised from the chin to the ear, thus affording a guide to its proportions, which are far superior to those of the previous figures. The disproportionate shape of the limbs disappears, and the countenance assumes its natural form and expression. The folds of the drapery, too, are freer, and the attitudes have lost their ancient rigidity. The figures are generally large, and arranged in groups of two or three on each side, occupying about two-thirds of the height of the vase." The design we have given to illustrate in some degree the "Fine Style" is the "Departure of Achilles" (Fig. 32), taken from a vase in the Louvre. In our modern time it has come to pass that men worship strength, power, words, gold, brass--everything but beauty. They care little to have beautiful things about them, less to be beautiful themselves, to create beautiful children, or to do beautiful work. And what is the result? Often they are as unlovely in their souls as in their persons; and so, while we boast of great cities, and long railways, and amazing cotton-mills, we boast not of beautiful men who make beautiful work. Perfection tends to perfection, and ugliness to ugliness. Therefore, let the perfect man and the perfect woman marry, that thus we may have the perfect race once more. To bring this to pass we must insist upon perfect form and perfect decoration in all things about us; we must know beauty and value it. One step to this great end is to study the Greek vase. The next step is to make every home a temple of art. What can we not believe of such a house as that of Aspasia in Athens, when she was virtually the wife of Pericles in the best period of Greece? That it was graced surely by works of divinest beauty; that these exquisite vases which we are praising stood upon her shelves, graced her pedestals, and adorned the corners specially made for their reception. We may believe that the potters themselves presented their beautiful work to the most distinguished woman of all Greece; that the victor in the Panathenaic games should ask a place for his prize in the atmosphere of light and learning which surrounded this remarkable woman.