that combination of elegance and utility which characterizes these works of ancient art. Some of these are proved to have been manufactured in Britain from specimens procured from the Roman potteries, discovered by Mr. Artis at Castor[1], and from the debris of others on the banks of the Medway[2]. The handles of amphoræ, and the rims of a peculiar kind of shallow pans, have frequently the names of the makers. A superior kind of pottery, of a bright red colour, usually termed "Samian," has been found in great abundance throughout London. It has been supposed with reason to be of that kind so termed by the younger Pliny, who mentions its being made at various continental towns, and exported to all parts of the empire; and its identity seems confirmed from being met with wherever the Romans had established themselves. This pottery is not more remarkable for its fine texture and rich coralline colour, than for the great diversity of its ornaments. The shallow dishes or pateræ of this ware, if not plain, are usually adorned with a simple ivy-leaf pattern, but the bowls are covered with embossed designs, comprising mythological, bacchanalian, and hunting subjects, gladiatorial combats, games, and architectural and fanciful compositions. Some exhibit figures which are probably copies from sculptures whose excellence made them universally popular; for instance, that of a Venus in attitude and character much resembling the well-known statue of the Medicean Venus. These vases have been usually cast in moulds, but fragments of others have been discovered, the ornaments and figures on which have been separately moulded. The names of potters are usually stamped on the bottom of the interior of these vases. Of these, such as bonoxvs, divixtvlvs, dagodvbnvs, &c., have a harsh and outlandish sound, bespeaking a Gaulish origin, or perhaps a Spanish, as Saguntum is one of the manufacturing places specified by Pliny. Many of the names as well as patterns accord with specimens preserved in museums in France and Germany. A familiarity with the frequent arrangements of the letters of the potters' names in monograms and ligatures, will tend to assist the reading of sculptured inscriptions.
The use of glass must have been common throughout Britain; fragments of beautifully-worked vessels in this material having been collected in abundance, and some in rich
