Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but more endear’d, Pipe to the spirit ditties of no tone; Fair youth beneath the trees, thou canst not leave Thy song, nor ever can those leaves be bare; Bold lover, never, never canst thou kiss, Though winning near the goal—yet do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, well-a-day! if I allow the pages of “Endymion” to allure me the hours will run by and no work be done. The vase on which the satyr is painted, with his frisky tail, is called a _Lekythos_, and was especially dedicated to funeral ceremonies holding oil or perfume; but what the satyr has to do with such, I do not know, unless it was that the entombed owner had been a jolly old fellow himself, and liked such company. The satyrs are frequently seen playing the double flutes, and I have noticed that in most instances men players use flutes that have not more than two bulbs, whilst the flutes that have three bulbs seem to be of more delicate make and are assigned to the female players; for they, as we know, were renowned for the highest excellence in the art. The muse Euterpe, who presided over pastoral poetry, is represented on one vase, seated and holding the pipes in her left hand resting on her knee, whilst with her right hand she encloses the upper part of one of the pipes and is pressing the tip with her thumb. It was this design that first arrested my attention. I saw that the fingers held but two of the bulbs: there was not room in the hand for more, whilst the pipe that was free had the three bulbs: hence, at that moment, one was missing. What did it mean? There is no instance ever of a pipe of two and a pipe of three bulbs being _played_ together as a pair. [Illustration: _Euterpe preparing her Flutes_ _Fig. 17._] The position of the hands of Euterpe and the method of handling the flutes are shown in Fig. 17. The painting is on a vase called a _Krater_, a vase intended for mixing the water and the wine, and its fine breadth of shape is admirably fit for the display of the paintings. There is a vase close by on which this custom of mixing the wine is depicted; the usual proportions were three of water to two of wine, sometimes it was two of water to one of wine; whilst the drinking of wine without water was accounted vulgar,—a sign of coarseness of taste, and was in some Greek states prohibited by law. The vases called Amphoræ were for containing the measure of oil given to the victor in the Panathenæan games, and are often inscribed with the date of the contest, and name of the owner, and the words “One of the prizes from Athens.” On some vases we see the player in the musical contest, standing mounted on a low stool. Eratosthenes tells us that boxing to the sound of flutes was an Etrurian custom.