examples, one from the Cemetery of Concordia and the other from the Villa Ludovisi show a fusion of elements derived from the Sidamara and Sub-Sidamara groups. The original group dates from the first half of the third century and the derivatives had their origin before the century came to a close.

2. Dr. Charles Upson Clark, of New Haven, Connecticut, The Treasure of Pietroasa and Other Gothic Remains in Southeastern Europe.

No abstract of this paper was received.

3. Professor Michael T. Rostovtzeff, of the University of Wisconsin, The Origin of the So-called Gothic Style in Jewelry.

There are two theories on the subject: that of Riegl and Salia, who claim the Central European origin of the Gothic style, and that of other scholars who insist on its oriental provenance. The supporters of the second theory argue that the main features of the Gothic style were elaborated out of oriental models in South Russia, were accepted by the Germans who conquered South Russia in the third century, and brought by them in the period of. migrations to Western Europe. Professor Rostovtzeff accepts this second view, and asserts that in the elaboration of the Gothic style the leading part was played not by the Germans, but by the Graeco-Iranian inhabitants of South Russia long before the Germans occupied this country. The results of excavations in South Russia make it possible to follow the development of the main features of this style from the seventh and sixth centuries B.C. to the early Middle Ages or the period of migrations. These main features are: polychromy effected by inset colored stones, the animal style of ornamentation, and the use of pseudo-granulate work for the geometric ornaments. We first notice these particular features in many finds of the sixth century B.C. in South Russia, analogous to contemporary finds in China. The origin of these features must thus be thought to be somewhere in Central Asia. They were brought to South Russia by the Scythians. A revival of the same characteristics may be noted in South Russia, China and Western Siberia in the so-called Hellenistic period. They were spread by the advance both westward and eastward of various Sarmatian tribes which belonged to the same stock as the Scythians. Many finds in South Russia allow us to follow the development of these features from the fourth century B.C. to the third century A.D. In the period of the early Roman Empire the style was adopted by the Graeco-Iranian population of Panticapaeum and became the foundation of the material civilization of the Gothic tribes which conquered Panticapaeum in the third century. The Goths and the Sarmatians in their conquest of Western Europe carried with them this style from the Dnieper to the Danube and from the Danube to Italy, Gaul, Western Germany, Britain, Spain, and Northern Africa, as is shown by many discoveries in these countries similar in all their peculiarities to the pre-German finds in Panticapaeum and South Russia in general.

(Compare the summaries of a series of lectures given by Professor Rostovtzeff at the Collège de France, R. Arch., XII, 1920, pp. 113-114.)

4. Mr. Ernest Dewald, of Rutgers College, Carolingian Initials. No abstract of this paper was received.

5. Professor Henry A. Sanders, of the University of Michigan, A Papyrus Manuscript of Part of the Septuagint.

No abstract of this paper was received.

6. Miss Mary Hamilton Swindler, of Bryn Mawr College, Drawing and Design on Greek Vases.

Inasmuch as the Greeks created the art of drawing as practiced by all modern nations and were masters of design, more attention should be given to the problems of drawing and design on Greek vases. Although the Cretans probably contributed to the Greeks only technical facility and certain Aegean motives, their works should be studied because they show mastery of the elements of good design. The octopus vase from Gournia reveals marvellous adaptation of shapes and lines to the form of the vase, rhythm and fine contrasts of light and dark. From the beginning, the Greeks conventionalized human and animal forms into geometric patterns. These drawings were largely due to the primitive memory picture of the artist. Though they are grotesque from the point of view of proportions and truth to Nature, the designs are effective because of the arrangement and combination of patterns. The orientalizing schools, Ionia and Corinth, introduced many Eastern motives, especially weird and fantastic animal forms borrowed from imported tapestries, ivories and metal. The Ionic school shows elongation of form to suit the zones of ornament and long, graceful lines; it reveals a fondness for landscape motives and symmetry of pattern. Corinth had a variable canon of adaptation for animal forms, compressing them for friezes and lengthening them for panels or the necks of vases. The black-figured period was one of greater invention than is usually recognized. Balance, symmetry, perspective and rhythm were all attacked even in the time of the François crater. The vase in the British Museum which represents Peleus bringing the child Achilles to Chiron, the Fountain vase in Berlin and the interior of the Dionysus cylix by Execias show the excellencies of black-figured drawing and design: delicacy and precision of line, fine balance of masses, rhythm, symmetry and skillful adaptation of designs to spaces. The red-figured technique first gave the artist a real opportunity for freehand drawing. The drawing of Epictetus with its trim outlines, light forms and sober, balanced composition, cannot be excelled. Andocides, in contrast, shows a love for profusion of detail, elaborate lines and rich folds that are characteristic of Ionia. Filling the circle of the interior of the cylix caused the painter much effort: he twisted and turned his forms, and bowed out the arms and legs in movement to accomplish this end satisfactorily. Two figures sometimes pivoted about a central axis or the middle line of the design passed through the central figure of a group of three. Under the influence of the wall painter, Cimon of Cleonae, attention to linear foreshortening caused the artist to represent frequently the back of the figure or the trunk in new and violent attitudes or the leg in front or back view. Euthymides represents the tendency well, and many painters of the late severe style.

This period marks the regarding of Nature and the turning away from the primitive memory picture. The influence of Polygnotus on the vase painter was not a beneficial one, for the most part. The craftsman attempted to follow the mural art too far in introducing perspective and was untrue to the architectonic demands of his art. The Phidian vases with their noble forms arranged in friezes and silhouetted against the background, show better design and drawing. The white ground vases offer the best examples of beauty of outline drawing. Direct observation led occasionally to individualism in the representation of figures and to the rendering of emotion. Shading for modelling the forms was also a sporadic phenomenon. The decline in drawing and design resulted after the middle of the fifth century because the painter understood too well the technicalities of his art and tried to follow the major art too far. The vases become overcrowded, dramatic poses are common and the artist strives after external effects. The best work was achieved when the painter adhered to flat composition and regarded beauty of form. This beauty of form resulted from proportions which probably had a definite mathematical basis.

DECEMBER 29. 8 P.M.

1. Dr. T. Leslie Shear, of Columbia University, A Marble Head from Rhodes.

This paper was published in full in the JOURNAL (XXIV, 1920, pp. 313-322)

2. Dr. Charles Peabody, of Harvard University, The Proposed Prehistoric Foundation in France.

The Archaeological Institute of America has established schools of study at Athens, at Rome, at Jerusalem and at Santa Fé, New Mexico; it has now been decided by the same Society, in affiliation with the American Anthropological Association, to establish a foundation for Prehistoric Study in France. The impetus towards this action and the inspiration underlying it came from Dr. Henri-Martin, of Paris, a surgeon, mobilized during the war, and an anthropologist of great reputation; he is known especially for his painstaking excavations at the Mousterian site of La Quina, near Angoulême, and for the discovery there in 1911 of a skull, contemporary with the deposit with which it was found, and of pure Mousterian age. He offered to American students on his own initiative and freely some of his own land, for excavation adjoining the site where the skull was found. Acting on this generosity, a joint committee of the two scientific societies took the matter in hand, enlarged it somewhat, obtained the cordial sympathy of the leading French anthropologists, and raised the first year's budget of 21,000 francs. After their report was made, a permanent governing Board from the two societies was appointed at the Christmas Meetings of 1920. This Board is composed as follows: for the Anthropological Association, George Grant MacCurdy, Nels C. Nelson, Charles Peabody; for the Archaeological Institute, William N. Bates, George H. Chase, Wallace N. Stearns. It is hoped that Professor George Grant MacCurdy of Yale University, will accept the Directorship for the first year's work, which will begin .July 1st, 1921.

The privileges which a student will have here, besides his duties of travel and study in Paris and the Provinces for a large part of the year, will be threefold, at the site of excavation itself: the benefit of getting down in the dirt himself and pulling out his own specimens; the advantages of a detailed and very intensive study of specimens on the ground, aided by the fine Laboratory at La Quina of Dr. Henri-Martin; and the chance of a comparative study in Prehistoric Archaeology, showing how often the same needs and the same materials on the two sides of the Atlantic, brought forth identity of implement. It is hoped that many students may apply; there is even question of admitting workers for the summer only; they would get at least the benefit of excavation. Names of students who may care to go to France and any questions should be sent to Charles Peabody, Peabody Museum, Cambridge, Massachusetts.

DECEMBER 30. 9.30 A.M.

1. Dr. Emerson H. Swift, of Princeton University, Imperial Portrait Statues from Corinth.

This paper will be published in full in a later number of the .JOURNAL.

2. Professor David M. Robinson, of the Johns Hopkins University, Etruscan and Later Terra-cotta Antefixes at the Johns Hopkins University.

After a brief introduction on antefixes and on the importance of making a complete collection of the numerous but scattered remains of architectural terra-cottas, the paper discussed nine unpublished architectural terra-cottas which were purchased in 1887 and which were exhibited with the paper as well as slides. One is a unique and very interesting mould for a Gorgoneion antefix. A cast was shown which proved the mould to be for making antefixes of the Capua type somewhat like the antefixes illustrated by Mrs. Van Buren in J.R.S. IV, 1914, pl. XXXIII, and by Wiegand, La Glyptothèque Ny-Carlsberg, pl. 178, No. 4. Probably that illustrated in Minervini, Terrecotte del Museo Campano, pl. XXX, 1 (Jh. Oest. Arch. I. XIV, 1911, p. 29, fig. 30) came from the Baltimore mould. Two antefixes show the Gorgon's head, one elliptical and of the sixth century, the other of the round bogey bearded type of the early fifth century, similar to specimens in Florence, Berlin, the Museo di Villa Giulia, Naples, etc. Three antefixes of the Maenad or female type, two of the sixth, and one of the early fifth century show a decided development. The first had no shell, the second had a scalloped shell above and lotus buds drooping on the sides and resembles somewhat Wiegand, op. cit. pl. 178, No. 5 and specimens in Berlin, Florence, Naples, and the British Museum, mostly from Capua, though one in Florence comes from Satricum. The type is illustrated in Minervini, op. cit. pl. VI, 2 (Jh. Oest. Arch. I. XIV, 1911, p. 27, fig. 29). The third one of this type has a complete shell or "nimbo baccellato" and the "archaic" smile is less pronounced. On the neck is painted the swastika, and the paint on the other parts on this specimen as on the others is well preserved. Similar specimens are illustrated in Daremberg et Saglio, Dictionnaire, s.v. Antefixa, p. 286, Not. Scav., 1896, p. 44 (from Satricum) Mél. Arch. Hist. XVI, 1896, pp. 157

158, etc. The family resemblance to the types of Capua is so strong in these six Baltimore antefixes (one a mould) that we can safely call them EtruscoCampanian and safely credit them with Capua as a provenance. The resemblance to the Copenhagen, British Museum, Naples, Berlin, and other examples from Capua is so clear that, although not from the same mould, their source of inspiration is undoubtedly the same. Even in the case of those from Satricum, Capua is a likely place of manufacture. Capua had a great industry in art objects, especially pottery and bronzes, and was about the only city in ancient Italy to have a factory system. Why couldn't it in Etruscan days have made antefixes or at least moulds and exported them to Satricum and elsewhere?

Two other antefixes in the Hopkins collection are of an entirely different group, simpler and much smaller, from some tomb or small monument, and date from Hellenistic times. They are semi-elliptical and resemble antefixes found at Tarentum. One has a female head like that described in Walters, Catalogue of Terra-cottas in the Brit. Mus. D 666. The other has a Hermes head with petasus, much influenced by the Medusa type. The last terra-cotta shown was of an elongated type, representing only half of a fine male head with hair arranged loosely in ringlets. Beyond the nose the terra-cotta is smooth and on the back it is curved. This is hardly an antefix, but is an architectural terra-cotta, probably applied to some corner of a building.

3. Dr. Stephen B. Luce, of the Museum of the University of Pennsylvania, A Group of Architectural Terra-cottas from Corneto. This paper will be published in full in a later number of the JOURNAL.

4. Professor George W. Elderkin, of Princeton University, Dionysiac Resurrection in Vase Painting.

This paper will be published in full later.

5. Miss Gisela M. A. Richter, of the Metropolitan Museum of Art, New York, The Firing of Greek Vases.

This paper will be published in full later as a chapter of a book entitled The Craft of Athenian Pottery, an Investigation into the Technique of Black-figured and Red-figured Athenian Vases.

It is Miss Richter's belief, confirmed by experiment, that Attic vases were decorated in "leather-hard" condition, and were once-fired.

6. Professor Roland G. Kent of the University of Pennsylvania, A Baffled Hercules.

A marble head from Sparta, in private possession in Philadelphia, and identifiable by the lion-jaw helmet as a head of Hercules, has been written upon by Bates, A. J. A. XIII, 1909, pp. 151-157, Caskey, B. Mus. F. A. VIII, 1910, No. 46, pp. 26-28, Hyde, A. J. A. XVII, 1913, pp. 461-478. The data of condi