Whatever may have been the purpose of the stone—religious, sacrificial, or tribal—the work must have occupied many men for a long period, and the skill, both of design and execution, prove that the artificers must have reached a relatively high stage of artistic development. The art is obviously ante-Christian, and the form of the stone suggests that it may have been sacrificial, with the hollow cone to receive the blood from a severed jugular and the tunnel beneath the central cord to convey it to where the priest stood in the gap to catch it as it ran through the hole at the bottom of the stone. The incised design shows no indication of Greek or Roman influence, but the concentric curves are identical with some of the earliest ornamental decoration of the stonework in the museum brought from other Celto-Roman places in the neighbourhood, and also with the decoration upon Celtic pottery found elsewhere in Portugal and at Carmona in Spain. [Illustration] A stone of great interest found also at Citania may perhaps add more to our knowledge than the mysterious _Pedra Formosa_. It bears an inscription in the Celtiberian character, of which comparatively few specimens have hitherto been discovered, and no key has been found to decipher them. One of those known and reproduced by Dr. Hübner was found at Peñalba de Castro in Spain, and appears to be nearly identical in character with that from Citania; whilst another, also in Hübner, brought from Barcelona, presents several important differences. The Citania inscription is here reproduced, and I am indebted to Professor Rhys, the famous Celtic authority, for an interesting suggestion, namely, that the whole inscription, although written in the unknown Celtiberian character, may be intended to be read in Latin; in which case the first line and a half might represent Syatenunius. This point, however, I must leave as being too abstruse for a book of this kind. We are on firmer ground in the case of the very numerous specimens of red pottery found at Citania and stamped with a mark entirely unknown elsewhere. The marks of Roman potters on jars and pitchers were always printed in small letters _outside_ the mouth, whereas the marked pieces in question from Citania bear in letters an inch long _inside_ the mouth “Camal” or “Arg,” and sometimes both words, and scores of red tiles have also been found similarly marked ARG CAMAL. Upon a lintel-stone from Citania in the museum I read the words CORONERI CALI DOMUS, and another, apparently from the same house, is mentioned by Dr. Sarmento, but which I did not see, bearing the inscription CRON CAMALI DOMUS, most of the pottery bearing Camal’s name having been found near this house. Whether Camal was a Celto-Roman potter, or, as seems much more likely, a great personage or chief of Citania, is a point yet to be decided; but from the fact that the name on the clay vessels is not situated where the