^{page 17 note 1} I am indebted to Dr. Köster of the Berlin Museum for the photograph (natural size) shown as no. 1 of plate I. No. 3 is an enlargement of the same. No. 2 (slightly enlarged), showing the other side of the fibula, was taken by the photographer of the Boston Museum through the courtesy of Dr. Fairbanks.

^{page 17 note 2} cf. Pinza, Röm. Mitt. 1907, pp. 35–186; and Pinza, and Nogara, , Materiali per la ctnologia antica Toscano-Laziale conservati nei musei Vaticani, i, pp. 77, ff. (Rome, 1914)Google Scholar, for references to earlier literature, and for an account of the latest researches concerning the tomb and its contents.

^{page 17 note 3} cf. Karo, Bull. Pal. It. xxiv, 1898, pp. 144–161Google Scholar; Lorimer, J.H.S. 1912, pp. 341, ff; Pinza, op. cit.

^{page 17 note 4} See below, p. 19.

^{page 18 note 1} The use of the word ‘solder’ in connexion with gold must not always be taken to mean the union of two pieces of the metal by means of a compound formed of other materials. Gold may readily be soldered with gold provided there be a slight degree of difference in the nature of the portion to be melted. This can be brought about by the use of gold from different localities, or by the addition of a small amount of silver or copper, or by reducing to fine particles the gold which is to join the two pieces, in any of which cases it melts more readily and forms a union which has practically the strength and the chemical constituents of the pieces joined: cf. Rosenberg, , Geschichte d. Goldschmiedkunst, Einführung, Frankfurt a/M. 1910, pp. 99, ffGoogle Scholar.

^{page 18 note 2} Pottier, Vases Antiques du Louvre, pl. 66, F 34.

^{page 18 note 3} See below, p. 23.

^{page 19 note 1} See below, p. 21.

^{page 19 note 2} For references cf. Marshall, B.M. Jewellery, pp. liv, ff.

^{page 20 note 1} An interesting exhibit of this nature was shown me in September, 1913, by Mr. Spink, the London dealer, in the shape of two small gold vases, one genuine and decorated with minute granulations raised slightly above the surface, and one an attempt to imitate the real vase, made by the well-known forger Rachumowsky, who had at first claimed that the genuine specimen had been made by him also. The difference between the two was evident at the first glance.

^{page 20 note 2} Marshall, B.M. Jewellery, pl. xviii.

^{page 20 note 3} Pinza and Nogara, op. cit. i (Rome, 1914), p. 82Google Scholar.

^{page 21 note 1} Marshall, B.M. Jewellery, pls. xi and xii; Poulsen, Der Orient und die frühgriechiscke Kunst, pp. 141, ff.

^{page 21 note 2} Furtwaengler-Reichhold, Gr. Vasenmalerei, ser. i, pls. 1 and 2; pls. 11 and 12 (François Vase); also ser. iii, pl. 132.

^{page 21 note 3} Antike Denkmäler, iii, pl. 2; see also Studniczka, Der Rennwagen im syrisch-phoenikischen Gebiet (Jahrb. 1907, p. 153, fig. 10).

^{page 22 note 1} Studniczka, op. cit. p. 160, fig. 11; cf. also in the same article, p. 153, fig. 10, a Hittite relief with similar trappings.

^{page 22 note 2} Loewy, Typenwanderung, ii (Jahresh. d. oest. arch. Inst. 1911), pp. 1–34, figs. 1 and 14.

^{page 22 note 3} A.B.A. xiii (1906–1907), p. 78, fig. 17 c.

^{page 22 note 4} Studii e Materiali, i, p. 242.

^{page 23 note 1} Mon. d. Inst. 1854, p. 113, pl. 33, fig. 3; Karo, Studii e Materials, i, p. 255.

^{page 23 note 2} cf. Keller, Die antike Tierwelt, i, pp. 259, ffGoogle Scholar.

_{page 23 note 3} Museo Etrusco, i, pl. xxi; Poulsen, op. cit. p. 26.

^{page 23 note 4} Through the kindness of Dr. Nogara I was enabled to examine this bowl, and found that the representations both in the Museo Etrusco and in Grifi are inaccurate, as they show no reins.

^{page 23 note 5} B.S.A. xiii (1906–1907), p. 114Google Scholar, fig. 4 b; xv (1908–1909), p. 147, pl. ix, 7.

^{page 24 note 1} N.S. (1907), p. 338, fig. 69.

^{page 24 note 2} cf. Karo in Studii e Materiali, i, pp. 255, 256Google Scholar.