And, above all, the Trojans now provided themselves with those beautiful vessels painted with shining colour that characterise Mycenæan culture in Greece, and whose natural style had so wonderfully developed there on the basis of the attempts that we found at Thera. In Troy these things caused some imitation, but the results remained far behind the originals. The living, imaginative conception of the natural was closed to the Trojan; the home-made pottery kept, on the whole, to its unpainted vessels, although these were now almost entirely made on the wheel. [Illustration: THE TREASURE OF PRIAM, KING OF TROY: A COLLECTION REVEALED BY THE EXCAVATIONS This remarkable collection of regal treasure comprises the key of the treasure-house (at top of picture in centre); and, under and about the key, a number of golden diadems, fillets, earrings, and smaller jewels. On the shelf below there are a number of silver talents and vessels of silver and gold; while below them is a series of silver vases and a curious plate of copper. A variety of weapons and helmet crests of copper and bronze are displayed beneath, and on the floor are a vessel, a cauldron and a shield, all made of copper. ] Yet what chiefly interests us is the historical. The sixth town, too, was suddenly given up, destroyed, and burnt. What follows it are again only poor settlements. Its destruction must have taken place about the end of the Mycenæan epoch of culture. The seventh town, which is built immediately on the ruins of the sixth, shows, already, other and later culture. It had long been suspected that a historical kernel was concealed in the legend of Troy--now we have the monumental confirmation. There really was a Troy, which was strong and great at the same time as the rulers of Mycenæ, rich in gold and treasure, held way in Greece. And that Troy was destroyed--we may now safely affirm, from this agreement between relics and legend--by Greek princes of the Mycenæan epoch, whom the legend calls Agamemnon and his men.