A lecture on ancient Greek painting was lately delivered by Professor C.T. Newton, C.B., at University College, London. The lecturer began by reminding his audience of the course of lectures on Greek sculpture, from the earliest times to the Roman period, which he completed this year. The main epochs in the history of ancient sculpture had an intimate connection with the general history of the Greeks, with their intellectual, political, and social development. We could not profitably study the history of ancient sculpture except as part of the collateral study of ancient life as a whole, nor could we get a clear idea of the history of ancient sculpture without tracing out, so far as our imperfect knowledge permits, the characteristics and successive stages of ancient painting. Between these twin sister arts there had been in all times, and especially in Greek antiquity, a close sympathy and a reciprocal influence. The method in dealing with the history of Greek painting in this course would be similar to that adopted in the course on sculpture. The evidence of ancient authors as to the works and characteristics of Greek painters would be first examined, then the extant monuments which illustrate the history of this branch of art would be described. In the case of painting, the extant monuments were few and far between, but we might learn much by the careful study of the mural paintings from the buried Campanian cities, Pompeii, Herculaneum, and those found in the tombs near Rome and Etruria. The paintings on Greek vases would enable us to trace the history of what is called ceramographic art from B.C. 600 for nearly five centuries onward.