The vase that is here published, by the kind permission of the authorities of the Harrow School Museum, is the gem of the collection of antiquities presented to that Museum by Sir Gardner Wilkinson; it is described by Mr. Cecil Torr as No. 50 in his catalogue. It had been repainted and restored in such a way as to suggest that it had been through the hands of an Italian dealer; and this conjecture as to its provenance is confirmed by the fact that a tracing of the design exists in the apparat of the German Institute at Rome; the vase comes from Vitorchiano and had been seen in the possession of Depoletti: the tracing was communicated by Gerhard. Dr. Wernicke describes the vase from this tracing in the Archaeologische Zeitung, 1885, p. 262; but it is clear that the tracing was not accurate enough to give him any adequate notion of the beauty and character of the drawing; though he notices the extraordinary foreshortening of the Centaur on the right, he suggests that the design is a variant derived from a vase signed by Polygnotus at Brussels, a suggestion that could not have been made by any one who had seen the vase or a good drawing of it; the style, as we shall see, points unmistakably to an earlier and finer stage in the history of vasepainting.