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Without taking time and space to review the arguments on which the interpretations of the reliefs are based it will be enough for my purpose to simply add a list of the scenes which one may reasonably refer to Greek tragedy. Examining the first volume of Brunn’s I rilievi delle urne etrusche, which is devoted to urns with scenes from the Trojan Cycle, one learns that those presenting a version of the stories ascribable to the tragic poets exceed those that are based on the Iliad, Odyssey, and other epics. The representation of Paris’ return to his Trojan home is, with one exception^[24], the most frequent. The thirty-four reliefs were referred, even in the time of the former late dating, to Euripides’ Ἀλέξανδρος^[25]. The fate of Telephos was, according to Aristotle, a common subject for a tragedy^[26]. We have already met the story on the Pergamon frieze, and it is very frequent on the Etruscan urns. Telephos grasps the young Orestes and threatens his life on the altar after the manner of the drama. It may be the influence of Aischylos or Euripides, but if one judges from the comparative popularity of these poets in this period he would be inclined to assign the first place to the latter^[27]. The offering of Iphigeneia occurs on twenty-six urns, nearly all of which were found in the vicinity of Perugia^[28]. It was again unquestionably Greek tragedy that was the incentive for these scenes. Aischylos, Sophokles, and Euripides may all share the credit of having furnished the literary source. A smaller series of urns representing Odysseus’ adventure in taking Philoktetes from Lemnos is also to be placed under the influence of the fifth century tragedy^[29]. The δόλιος Ὀδυσσεύς is seen playing his part as cleverly as he does in the extant play of Sophokles. The attitude of Philoktetes standing before Neoptolemos, having in two cases the arrow in his hand, corresponds well to the character drawn by this poet. The injured chieftain displays his courage and scoffs at the thought of being carried away by the detested Odysseus. The murder of Aigisthos and Klytaimestra represented on seventeen urns has been shown by Schlie to be essentially Euripidean^[30]. The arrival of Orestes and Pylades at the precinct of the Tauric Artemis is possibly the subject of three reliefs^[31]. This would also take one directly to Euripides^[32]. The following are published in the second volume of the Urne etrusche by Körte. Medeia escapes on her dragon-chariot, driving over the bodies of her children^[33]—an echo of the great tragedy that exercised so wide an influence in other fields of art^[34]. The punishment of Dirke on four reliefs is based without question on the Antiope of Euripides^[35]. The blinding of Oedipus at the hands of Laios’ sons seems to have been an invention of the same poet and is recognized in another relief^[36]. The Theban fratricide and the assault on the city were both much-prized subjects^[37]. Körte points out many features common to the numerous reliefs and the Phoinissai of Euripides^[38]. The death of Alkmene is represented on five urns which one would associate with the Alkmene of the same poet^[39]. Euripides’ Κρῆτες is traceable on seven reliefs, showing the legend of Daidalos and Pasiphaë^[40]. Theseus’ fight with the Minotaur occurs four times and reminds us of Euripides’ Theseus^[41]. The death of Hippolytos on eight reliefs does not present any essential variation from the extant Greek tragedy^[42]. Perseus and Andromeda are met with likewise and emphasize the wide popularity of Euripides’ play^[43]. The famous legend of Oinomaos’ death and Pelops’ triumph occurs on thirty-one urns^[44]. It can be shown that these were inspired by one or more of the lost tragedies that dealt with the subject^[45]. The Μελέαγρος of Euripides appears to have been the source of at least three of the many reliefs representing the Kalydonian Hunt^[46]. To this long list of urns based on Euripidean tragedies one must still add seven that were probably inspired by this poet’s Μελανίππη ἡ σοψή and three more that follow his Μελανίππη ἡ δεσμῶτις^[47].