The original vase is nine and three-fourths inches high and twenty-one and three-fourths inches in circumference. Wedgwood's reproduction of it was pronounced by the best judges to be faultless. It was exhibited at all the principal courts of Europe by his son in 1791. The moulds are still in existence, and other copies have frequently been made by Wedgwood's successors, but they are not equal to the first in finish. We give a photograph of this celebrated vase as a frontispiece. Miss Meteyard gives the following account of this renowned vase: "The original vase is supposed to have been manufactured in the glass-works of Alexandria at their best period. Brought thence to Rome, it was used as a receptacle for the ashes of the funeral-pyre, as it was found inclosed in a sarcophagus of excellent workmanship, and this in a sepulchral chamber beneath a mound of earth called Monte del Grano, about three miles from Rome, on the road to ancient Tusculum. The discovery was made between the years 1623 and 1644, during the pontificate of Urban VIII. (Barberini). An inscription on the sarcophagus, which was otherwise covered with fine bass-reliefs, showed it to have been dedicated to the memory of the Emperor Alexander Severus, and his mother, Julia Mammæa, both of whom were killed in the year 235, during the revolt in Germany. The vase, ten inches in height, was deposited in the library of the Barberini family, and the sarcophagus in the museum of the capital. The material of which the former is composed was, by Montfauçon and others, conjectured to be a precious stone, but Wedgwood's examination proved it to be formed of glass; the ground being a dark blue, so nearly approaching black as to appear to be of that color, except when held in a strong light. The white bass-reliefs are of glass or paste, the material having been fused on in a mass, and then cut out by the skill and patience of the gem-engraver. The subjects of these bass-reliefs, as also the age and place of production of the vase, are points so wholly unknown as to be open to conjecture and criticism. With respect to the first, critics have differed. They have been generally considered to bear reference to the Eleusinian mysteries; but one of the most learned critics of our own day, whose works on 'Gems' are known to every artist, scholar, and man of taste, considers that one of the group represents Peleus approaching Thetis. At best, the vase must ever remain what Erasmus Darwin termed it, 'Portland's mystic urn.' Wedgwood valued the copy represented at two hundred pounds." I must say for myself that, having seen the original--now in the British Museum, where it is most jealously guarded--I cannot but admire the careful and beautiful cutting of the figures in the designs which surround the body; but I did not when I saw it, nor do I now, think the form of the vase in any degree equal to the best of the Greek or Etruscan vases.