the sorrows of love, for he has labelled Eros “wretched.” One thinks of Horace’s _querentem Sappho puellis de popularibus_. Mr. Beazley, however, suspects the inscription _talas_, and thinks that _kalos_ (beautiful) was written. It is greatly to be hoped that the vase will soon be found again so that we can have a rereading of the letters. On the Michaelis vase in late Polygnotan style,[113] which is in the Jatta collection at Ruvo in Italy (Pl. 15), we possibly have an apotheosis of Sappho. Aphrodite is painted with a cupid on her right shoulder like the Aphrodite of the Parthenon frieze, judging the contest of Thamyris. Near Apollo are three Muses, and near Thamyris are four. Sappho is evidently leaning for support on Aphrodite, receiving a little dove from a little Eros, and is pictured as a Muse herself, as in Plato’s epigram. On another red-figured vase[114] in private possession, Sappho is in the midst of her pupils. Several vases even show knowledge of her writings. The most important is the hydria or water-jar in Athens (Pl. 16), dating about 430 B.C.,[115] which Mr. Beazley would put in the group of Polygnotus, somewhat in the style of the Hector painter, though not by him. Sappho is seated on a light-backed chair or _klismos_; she is reading from a papyrus roll, while Nicopolis behind holds a wreath over her head. Two maidens stand in front, one, Callis, holding a lyre. Scholars have long tried to make sense out of the letters on the papyrus, and several, such as Comparetti and Aly, have considered them un-Sapphic; but Edmonds, the great English expert on Sappho, has got a new reading for the last word and thinks this is column 1 of a book entitled _Winged Words_, a phrase borrowed from Homer. The verses are an introductory poem to Sappho’s works with an invocation to the Gods, after which follows the verse: “The words I begin are words of air, but for all that, good to hear.” I do not feel that the solution is satisfactory or Sapphic, and an examination of the vase itself proves that Edmonds’ reading will not stand; but no one has yet made a better proposal. On another vase, in the Louvre, attributed to Euphronius[116] we have an echo of Sappho in the words (E. 23), “I long and I yearn.” A beautiful fifth century cylix (Pl. 9) by the erudite and versatile Sotades,[117] whose wonderful signed terra-cotta horse, mounted by an Amazon, has recently been brought to Boston from Meroe in Egypt, pictures a girl on tiptoe trying to pluck the sweet apple which is reddening on the topmost bough. I have no doubt that Sotades was illustrating Sappho’s song. Possibly on the so-called Steinhauser terra-cotta fragment[118] the seated figure is Sappho; she is nude above the waist and holds her lyre in her right hand. She is looking into the air enraptured and sublimely inspired.