the son of Mithridates, whose tomb this may be, but Dubois considers it the name of the artist, which, under the more recent form, APNAKOC, frequently recurs in the inscriptions of Sindika, now Anapa.

Among these arms was found one boot in bronze, and the fellow was on the right of the king, opposite the head. In the same compartment, and near the head of the king, were found, in the exterior angle, five statuettes in electrum. One figure represented two Scythians embracing one another, and tightly holding a horn, probably filled with hydromel. The horn is like those which all the statues, or babas, so often found in one part of Southern Russia, hold with both hands. Another figure holds a purse in its right hand, and a strange instrument in the left, and is like a Celtic Mercury. There was likewise the Scythian Hercules among these divinities. Their costume recalled the Sclavonic and Tatar dress, and particularly the tunic of sheepskin, which the Tatars call toun or teretoun, the Russians touloup, and the Poles kozuch, which was the Scythian garment found in the most ancient monuments. The fleece is turned inwards, or the garment is only edged with fur, and it is found of all lengths, from the short Tatar tunic, and the Slavonic katskaveika, to the long sheepskin gown of the Russian peasant. These different kinds are all visible in the different dresses of the figures of this tomb, where may be recognized the real Lithuanian sermedje and the Tcherkess tchok.

Thus was arranged the sarcophagus of the king, and around it, on the pavement, were the objects which completed the furniture of the tomb, in which nothing had been forgotten which could contribute to the material wants of life. At his feet a kind hand had placed three large cauldrons of molten bronze. Two were oval or oblong, and one was spherical, and all reposed on a cylindrical foot, of which the base spread out into three hooks to fix it on the soil. These three vases had been

often on the fire and used for cooking; there was a thick coat of suet still on them, and the interior was filled with mutton bones."

There was another oblong vase, near the door, filled in the same manner. After the kitchen of the king came his provision of wine, and his drinking-cups. The wine was contained in four clay amphora, placed upright against the wall on the right. On the handle of one was inscribed OAZI, and below APETON, and in the midst was a fish. These then were filled with wine of Thasos, which, to judge by the quantity of amphora found in the tombs, bearing this name, was the favourite kind of wine. Two large crateres were naturally placed near the amphora, because the Scythians always drank wine mixed with water. The first, the nearest to the door, was of silver, nearly eighteen inches in diameter, and contained four drinking cups in silver, two of which were of beautiful workmanship, particularly the one which terminates below in the head of a ram. The second crater in bronze contained also four silver drinking cups, the largest of which is ornamented with chiseled work gilt, on which may be recognised the birds and fish of the Black Sea and the Cimmerian Bosphorus. On the right is a duck plunging and seizing a fish; under it swims a labra and a sturgeon, and further on a cormorant with extended wings is seizing while flying a small fish. On another is a combat of a wild boar about to yield under the claws of a lion.

On the right is a toura of the Caucasus, brought to the ground by two griffins of Panticapæum. On the left the deer of Kherson suffers the same fate, being torn by a lion, while a female leopard, with open mouth, is

about to seize it by the throat. In the part which the wild-boar, the deer, and the toura play in the midst of griffins and lions, there is a manifest design. The lion of Phanagoria and the griffin of Panticapæum are not always represented as victorious without intention, while the deer of Kherson, the toura of the Caucasus, and the wild-boar of the Kuban, are always vanquished by them.

Beyond the drinking-cups were the arsenal of the king, composed of two lances and several bundles of arrows, laid along the wall. The last had triangular points in bronze, with three barbs, to prevent their being drawn out of the flesh, and are similar to those found in Scythian monuments in Southern Russia. Between the arrows and the sarcophagus there appeared a second skeleton, laid on the pavement, and much covered with earth, but adorned so richly that it was impossible not to recognise the wife of the king, who thus accompanied him to his last resting-place. She was laid in the same direction as the king, and wore on her forehead a mitre like him, with a plate in electrum terminating it, which showed a skilful workman. Four women, in Greek costume, sit in the midst of garlands of lotuses, the stalks of which form seats and backs. Four masques of lions formed on each side the means by which the plate was attached to the mitre. On the bottom the mitre was bordered by a diadem of gold, adorned all round with small enameled rosettes. The queen bore on her neck, like the king, a grand necklace with the ends moveable, and, instead of horsemen, the extremities were formed of couchant lions. She had on besides another necklace of gold filigree, to which were suspended small chains, supporting little bottles of fine gold. Five medallions of exquisite workmanship, and different sizes, descended on her bosom, and they were fastened together by small chains and bottles. These were enameled blue and green, like other objects that have been mentioned. The two largest of these medallions represented Greek