These same sources supply us with a considerable gleaning of epigrams which either were omitted by the collectors of the Anthology or have disappeared from our copies. The present selection for example includes epigrams found in an anonymous Life of Aeschylus: in the Onamasticon of Julius Pollux, a grammarian of the early part of the third century, who cites from many lost writings for peculiar words or constructions: and from the works of Athenaeus , Diogenes Laërtius, Plutarch, and Suidas mentioned above. The more famous the author of an epigram was, the more likely does it become that his work should be preserved in more than one way. Thus, of the thirty-one epigrams ascribed to Plato, while all but one are found in the Anthology, only seventeen are found in the Anthology alone. Eleven are quoted by Diogenes Laërtius; and thirteen wholly or partially by Athenaeus, Suidas, Apuleius, Philostratus, Gellius, Macrobius, Olympiodorus, Apostolius, and Thomas Magister. On the other hand the one hundred and thirty-four epigrams of Meleager, representing a peculiar side of Greek poetry in a perfection not elsewhere attainable, exist in the Anthology alone. Beyond these sources, which may be called literary, there is another class of great importance: the monumental. An epigram purports to be an inscription actually carved or written upon some monument or memorial. Since archaeology became systematically studied, original inscriptions, chiefly on marble, are from time to time brought to light, many of which are in elegiac verse. The admirable work of Kaibel[3] has made it superfluous to traverse the vast folios of the Corpus Inscriptionum in search of what may still be hidden there. It supplies us with several epigrams of real literary value; while the best of those discovered before this century are included in appendices to the great works of Brunck and Jacobs. Most of these monumental inscriptions are naturally sepulchral. They are of all ages and countries within the compass of Graeco-Roman civilisation, from the epitaph, magnificent in its simplicity, sculptured on the grave of Cleoetes the Athenian when Athens was still a small and insignificant town, to the last outpourings of the ancient spirit on the tombs reared, among strange gods and barbarous faces, over Paulina of Ravenna or Vibius Licinianus of Nîmes.[4] It has already been pointed out by how slight a boundary the epigram is kept distinct from other forms of poetry, and how in extreme cases its essence may remain undefinable. The two fragments of Theognis and one of Mimnermus included here[5] illustrate this. They are examples of a large number like them, which are not, strictly speaking, epigrams; being probably passages from continuous poems, selected, at least in the case of Theognis, for an Anthology of his works.