Although this variety of the spathomele is not one which is specially mentioned by any classical writer, it is convenient to have a name by which we can denote that variety of the spathomele in which the blade is not flat. It has the same large oval nucleus as the flat spathomele, and the same shaft, plain, or fluted, or overlaid with silver, but the spatula is replaced by a spoon, the outline of which shows the same variety of form as we met with in the spatula. The depth of the spoon varies greatly. Pl. XIV, fig. 3 shows an instrument in which the two lateral halves of the blade, instead of lying exactly in the same plane, meet in the midline at a slight angle so as to form a cavity obtusely angular on cross section, and gently rounded on longitudinal section: Cross sec. [Illustration] Long. sec. [Illustration] Pl. XV, fig. 1 shows a similar arrangement, except that the cavity is more marked, and the tip instead of being sharp is rounded. In Pl. XIV, fig. 1 the cavity is so marked that a typical spoon is formed. This specimen is interesting as showing the ornamentation of the shaft by overlaying a spiral silver wire. It is from the Naples Museum, and it is figured by Vulpes. Other varieties are seen in Plates XIV, XV. Pl. XV, fig. 4 shows a very coarse, thick specimen. The scope of the cyathiscomele in medical art is evidently like the flat spathomele to act occasionally as a sound, but mainly to mix, measure, and apply medicaments. Some are adapted for use as curettes. But the large number in which this instrument occurs would of itself indicate that it was used for lay as well as medical purposes. Many are toilet articles. An interesting discovery of two typical specimens in the grave of a lady artist was made in Vendée in 1847. Among a number of colour pots and alabaster mortars for rubbing down and mixing colours was an étui similar to the typical cylindrical instrument case of the ancient surgeon, and in this were two spoon probes like the one shown in Pl. XIV, fig. 1. Evidently they were favourite instruments of the painter, and had been used by her for mixing and preparing her colours.[2] [2] Blümner, _Technologie und Terminologie der Gewerbe und Künste bei Griechen und Römern_, vol. iii. p. 458.