On the companion vase (Fig. 242) is the figure of the goddess of night, Luna, Diana, or Hecate, in her character of Luna, with the crescent under her feet, and throwing back a mantle from her graceful form. In both vases the beauty of the conception is skilfully carried out in the execution. The figures are admirably modelled, and, being of a light paste and left unglazed, stand out in bold relief against the ground. The daring of the latter innovation is amply justified by the result. [Illustration: Fig. 243.--Faience Vase. (Mrs. Colonel T. Scott Coll.)] Of the third class of vases with glazed ornaments applied to the body there are many fine specimens. One of the most charming (Fig. 243) is wreathed by flower sprays twined naturally and gracefully round the body. The flower is in full bloom, and its large leaves are spread out above it and below. For handles there are snakes turning in their changeless coil round the flower stem. On another the handles consist of butterflies beautifully moulded and colored, and placed as though they might have been transformed into clay as they alighted on the vase. Another, of small size and quaintly rotund form, has a mass of leaves and flowers in relief clustering round the body. A pitcher with a soft gray ground is lightly overrun with an ivy branch, which twines itself round the neck and handle as naturally as the plant creeps up and winds itself round the stem of a tree. Can anything be more simple than the suggestions to which these creations are due? Do we need to be reminded of the fable which explains how Callimachus was inspired to produce the Corinthian capital? We are told that he was walking in the country, and as he travelled he came to the grave of a child, upon which, in a basket, some relative--its mother, probably--had placed the customary offering of food. To keep off the birds and small animals, a tile had been laid upon the basket. In course of time an acanthus appeared; and as it grew, its stalk was pressed back by the tile and turned round spirally under its edge. Nothing more was needed. Callimachus found in the little basket on the flower-grown grave a suggestion for the order of architecture which has never been surpassed to this day. We have similarly, in the faience vases of Haviland now under consideration, constant hints of inspiration drawn from the simplest forms of nature. A branch falls upon a vase and becomes its ornament. A butterfly hangs for a moment on fluttering wing and drops from its flight, and it too becomes an ornament. The workman leaves his unfinished work at night, and when he returns at day-break, finds that a lizard or an asp has crept upon the still slimy vase to bask itself in the first rays of the morning sun. It darts out of sight, but it has left an idea which appears in the decoration; and on the spot from which it glided when disturbed a snake displays its spiral convolutions.