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When Greek civilization became fully established, in the sixth century, when inscriptions and coins begin to give us far more exact information than that which can be derived from pottery, the interest attaching to the latter does not cease, but it changes in character. We no longer go to it to determine the outlines of the history of civilization. But it has now become a thing precious in itself because of its beauty, its close relation to the poetry, the religion and the life of Greece. The elegant forms of Greek vases and the charm of the designs painted on them have caused them to be sought after by great museums and wealthy collectors. The graves of Italy, Sicily, Hellas, have poured out a constant supply of these works of art, some of them beyond value. Classical archæologists have naturally given much attention to them; and of late years the assignment of examples to noted masters, and the study of their technique have been zealously prosecuted. They belong too wholly to a civilization which has passed away to be readily understood by ordinary visitors of museums; but those who have once been bitten with their charm find in them an occupation, a delight and a solace which are great helps in life. Greece is the classical land of art in all its forms, and the principles of art which were established by the successive schools of art there can never be wholly neglected. If we set aside the pottery of China and Japan, which is, in another sphere, of unsurpassed beauty, the pottery of Greece is the only perfectly developed and thoroughly consistent pottery in the world; and the noted productions of modern Europe seem in comparison poor and half-civilized.