small windows being probably the leading lights for coming into the harbour. The sail has a triangular topsail in two pieces without a yard of its own. The yard of the mainsail appears now to be made in one piece instead of two, but the point where, owing to the binding together of the two pieces, the yard was thickest, is still so in the centre. The sheets and braces will be recognised at once, but we must say a word regarding the brails that were now employed. If the reader will examine the sail shown set in this illustration, he will find that the brails pass through rings on the fore-side of the canvas, then either through the top of the sail or just over it, between the yard and the edge of the sail itself, and so down to the stern. In the picture three of the brails are seen coming down so as to be within reach of the steersman. The action of brailing or reefing, then, must have been somewhat similar to the process of drawing up the domestic blinds that are familiar to us by the name of Venetian. The reader will no doubt have seen many drop-curtains in our theatres of to-day worked on the same principle as these brails worked the Roman sails. [Illustration: FIG. 22. ROMAN SHIP ENTERING HARBOUR. _From an earthenware lamp in the British Museum._] The sails were not infrequently ornamented. The present illustration shows a sail bearing the devices of a Roman emperor. Topsails had come into use quite a hundred and fifty years before this ship, but they were far more popular on the Mediterranean than in the more boisterous waters of Northern Europe. Fig. 22, taken from an earthenware lamp in the British Museum, shows another ship of this period entering harbour. The sail is furled to the yard, there is a crew of six on board, one of whom is at the helm, one is at the stern blowing a trumpet announcing their approach—an incident that one often sees depicted in the early seals of English ships—three men are engaged in furling the sails, and the man in the bows is standing by to let go the anchor. At the extreme left of the picture will be seen the lighthouse. I am sorry it is not possible to give the reader a better illustration of this lamp, but it is of such nature as almost to defy satisfactory reproduction. Fig. 23, taken from another lamp in the same museum, represents a harbour with buildings on the quay in the background. A man is seen fishing from his boat in the foreground, with another man ashore about to cast a net into the water. [Illustration: FIG. 23. FISHING-BOAT IN HARBOUR. _From an earthenware lamp in the British Museum._]