By far the most usual inscription on an Attic tomb consists of a proper name, to which is added commonly a patronymic. In addition to this simple record, archaic tombs sometimes bear the name of the artist who executed them. Towards the end of the fifth century the custom comes in of adding also the place to which the deceased belonged. The reliefs of the best age are not signed by an artist, and in fact anything beyond names and demes is, in the fifth and fourth centuries, quite unusual. The strict canons of developed Greek art seem to have rejected any long or metrical epitaph as out of place or in bad taste. Later, in the third and second centuries, longer inscriptions, often written in elegiac metre, are far commoner. Our plates and engravings furnish specimens of the ordinary kinds of inscriptions. The two archaic reliefs of Pl. IX bear the artists’ names, in one case Ἔργον Ἀριστοκλέοσ[238], in the other Ἀλχσήνορ ἐποίησεν ὁ Νάχσιος: to the latter signature is added a delightfully naïve comment, ἀλλʹ ἐσίδεσθε, Just look! implying that in the artist’s own opinion his work is well worth looking at. The inscription on the tomb of Dermys and Citylus (Fig. 55) records the name of the dedicator, Ἀμφάλκης ἔστασ’ ἐπὶ Κιτύλοι ἠὃ ἐπὶ Δέρμυι. After the archaic age, the inscriptions are simpler, as Ἀμφοττό (Pl. XVII), Εὐέμπολος (Pl. XVIII), Δημοκλείδης Δημητρίο (Fig. 59), Τυννίας Τύννωνος Tρικορύσιος (Pl. X), Κρατιστὼ Ὀλυνθία Ἄγρωνος θνγάτηρ Γλαυκίου δὲ γυνή, and so forth. When the tomb belongs to one person these inscriptions are simple, and there can be no ambiguity in their interpretation, nor is there any doubt to which of the persons represented in the relief the identifying inscription belongs. But when the inscription contains several names the matter is not so simple. Dr. Furtwängler lays down the rule that the names are the names of the dead; in that case, as the dead and the living appear together in the reliefs, there would be no necessary correspondence between relief and inscription. I find however, in the great majority of cases, that not only do the inscriptions agree with the reliefs, but that the names are placed over the figures in order to identify them. The analogy of Greek vases here helps us. On vases it is an ordinary custom to place over each of the persons of the design his or her name, merely for purposes of identification. It appears that the same custom prevails in sepulchral reliefs. Confirmation of this view will be found in abundance by any one who examines the _Corpus of Attic Reliefs_. And further confirmation is afforded by the epigrams of the _Anthology_. One records[239] not only the name of the person to whom the tomb belongs, and who appears in its relief, but also the names of the dog, the horse, and the slave who form his _cortége_. Another reads[240], ‘This is Timocleia, this Philo, this Aristo, and this Timaetho; all daughters of Aristodicus.’ In fact, to this general rule