But the potter’s ware does not end with this. The place of refuge discovered in some crevice in a sunny wall is a valuable site, where the whole family will take up its abode. More preserve-jars are therefore fashioned, sometimes arranged in a row, sometimes collected in a group. Though constructed according to a fixed type, the ellipsoid, the new structures depart, some more, some less, from the ideal model. Welded together, end to end, they lose the smooth nipple of the ellipse and replace it by the sudden truncation of the barrel. When they are joined lengthwise, the belly of the barrel becomes flattened; when they are massed together anyhow, they become almost unrecognizable. Nevertheless, as the Agenia, unlike the Pelopæus, never covers her collection of pots with a casing, her work retains its distinctive features fairly well, thanks to the thoroughness with which the artist has stamped her trade-mark upon it. The pottery of the Eumenes is of a higher order: it favours a bulging cupola, like that of the Turkish kiosk or the Moscow basilica. At the summit of the dome is a short opening, like the mouth of an amphora, through which the caterpillars intended for the larva’s consumption are introduced. When the larder is full and the egg slung from the ceiling by a thread, the bell-mouthed neck of the cell is closed with a clay stopper. As a rule, in these parts, E. Amadei builds on a big pebble. She adorns her cupola with angular bits of gravel, half buried in the plaster; on the stopper closing the mouth she places a little flat stone, or even a Snail-shell, selected from among the smallest. The earthenware casemate, well-baked by the sun, is supremely graceful. Well, this elegant structure is doomed to disappear. Around her cupola the Eumenes builds others, using as walls what she has already built. Henceforth the exact circular form is no longer practicable. In order to occupy the reentrant angles, the new cells themselves become angular and assume an undecided, polyhedral form. Only the edges of the mass and the top retain traces of the regulation plan. The nest as a whole shows a nippled surface encrusted with broken flint. Each nipple corresponds with a cell, which may always be known by its amphora-like mouth, a part which is not misshapen, because it has been fashioned without impediment. In the absence of this certificate of origin, we should hesitate before recognizing the work of an expert dome-builder in the shapeless blob.