Mr. Wedgwood has well observed that it does not seem probable that the Portland vase was purposely made for the ashes of any particular person deceased, because many years must have been necessary for its production. Hence it may be concluded, that the subject of its embellishments is not private history but of a general nature. This subject appears to me to be well chosen, and the story to be finely told; and that it represents what in antient times engaged the attention of philosophers, poets, and heroes, I mean a part of the Eleusinian mysteries. These mysteries were invented in Aegypt, and afterwards transferred to Greece, and flourished more particularly at Athens, which was at the same time the seat of the fine arts. They consisted of scenical exhibitions representing and inculcating the expectation of a future life after death, and on this account were encouraged by the government, insomuch that the Athenian laws punished a discovery of their secrets with death. Dr. Warburton has with great learning and ingenuity shewn that the descent of Aeneas into hell, described in the Sixth Book of Virgil, is a poetical account of the representations of the future state in the Eleusinian mysteries. Divine Legation, Vol. I. p. 210. And though some writers have differed in opinion from Dr. Warburton on this subject, because Virgil has introduced some of his own heroes into the Elysian fields, as Deiphobus, Palinurus, and Dido, in the same manner as Homer had done before him, yet it is agreed that the received notions about a future state were exhibited in these mysteries, and as these poets described those received notions, they may be said, as far as these religious doctrines were concerned, to have described the mysteries. Now as these were emblematic exhibitions they must have been as well adapted to the purposes of sculpture as of poetry, which indeed does not seem to have been uncommon, since one compartment of figures in the sheild of Aeneas represented the regions of Tartarus. Aen. Lib. X. The procession of torches, which according to M. De St. Croix was exhibited in these mysteries, is still to be seen in basso relievo, discovered by Spon and Wheler. Memoires sur le Mysteres par De St. Croix. 1784. And it is very probable that the beautiful gem representing the marriage of Cupid and Psyche, as described by Apuleus, was originally descriptive of another part of the exhibitions in these mysteries, though afterwards it became a common subject of antient art. See Divine Legat. Vol. I. p. 323. What subject could have been imagined so sublime for the ornaments of a funereal urn as the mortality of all things and their resuscitation? Where could the designer be supplied with emblems for this purpose, before the Christian era, but from the Eleusinian mysteries?