restoration is based can readily be distinguished. In the relief, worshippers do reverence to two stately, enthroned figures, one of each sex. If the whole monument is a tomb, and therefore to be interpreted by the analogy of other sepulchral reliefs, the two enthroned figures are the heroified dead, who are approached by worshippers.

925. Relief from the left half of the west pediment, with a combat of foot soldiers against cavalry.

926 (above the restored pediment); 927, two groups, which stood each on the apex of one of the pediments. In each case a nude youth was carrying a female figure in his arms. The groups are much mutilated and the subjects uncertain. 927 has been called Peleus with Thetis, or one of the Dioscuri (Castor or Pollux) with a daughter of Leukippos.

The Lions. Parts were found of four lions, which were probably symmetrically disposed with reference to the central chamber. Two of these (929, 930) are fairly complete. They have manes of an archaic and conventional form.

[We leave the Nereid Room by the North door, and descend the staircase, to the Mausoleum Room.]

THE MAUSOLEUM ROOM.*

SUBJECT:-TWO LARGE LYCIAN TOMBS; MAUSOLEUM; SCULPTURES FROM PRIENÈ; CNIDOS LION.

On each side of the staircase are two large Tombs from Xanthos, which should be studied in connection with the Nereid Monument.

950. (Fig. 38.) From the inscriptions in the Lycian character, this structure is known as the tomb of Payava. The inscriptions also mention a Persian Satrap, who authorised the tomb, and who may perhaps be identified with a Satrap, called by the Greeks Autophradates, who may have held power at Xanthos, between about 375 and 362 B.C.

1-2. On each side of the roof is a relief, with an armed figure and a charioteer drawn by four galloping horses. A curious feature is the wing which is attached to each chariot, beside or upon the wheels. The pairs of projecting lions' heads on each side are architectural additions, and have no relation to the relief. On the

*Fully described in the Catalogue of Sculpture, Vol. II. (3s.), Parts IV., V. (sold separately at 1s. each).

ridge are reliefs; on one side, a combat of warriors mounted and on foot; on the other hunting scenes. In the western gable is a small door for introducing the body of the person buried in the tomb.

On the principal frieze round the base of the tomb are the following:-

5. Battle of cavalry and foot soldiers in a rocky place. Two figures are partly seen among the rocks. The Lycian inscription above is to the effect that Payava built the tomb.

Fig. 38.-The Tomb of Payava. (From a drawing by G. Scharf.)

6. The elderly figure seems to be placing a wreath on the head of the youth.

7. A seated Persian Satrap seems to be receiving a deputation. The Lycian inscription above contains the name of the Satrap, probably Autophradates, and may record his grant of an authorization to build the tomb.

8. Two armed figures, and an inscription perhaps containing Payava's directions as to the use of the tomb.

In general form this monument, like its companion, and like many of the Lycian tombs, is remarkable for its frank, and probably conscious, imitation of a wooden building, the frame of which is morticed together, according to a simple system of carpentry. The ends of the beams are left projecting, and the mortices are in some cases made firm with wedges.

951. Tomb on the West side of the staircase known (from the Lycian inscription) as the Tomb of Merehi or otherwise as the Chimaera Tomb. On one of the sides of the ridge is a battle scene between warriors on foot; on the other a banquet, a figure crowning an athlete, and a group of aged figures conversing. Below these reliefs is, on each side of the roof, Bellerophon in a chariot, accompanied by a charioteer. He attacks the Chimaera, a fabulous monster of Lycia, part lion, part goat, and part serpent.

THE MAUSOLEUM.

The principal contents of this room are the remains of the tomb of Mausolus, Prince of Caria, a work of such beauty and splendour that it was ranked by the ancients among the Seven Wonders of the world. Its name, Mausoleum, came to be used in a genera! sense, and in modern usage, by a process of degeneration, it denotes any building of a somewhat elaborate character, designed to hold the dead.

On the death of Mausolus, which is assigned to the year 353 B.C., his wife and sister, Artemisia, succeeded to his throne. She only reigned for two years, and is said to have died of a wasting illness, caused by sorrow for the death of her husband. During her short reign she celebrated his memory by rhetorical and dramatic contests, but chiefly by the construction of a splendid tomb, at his capital city of Halicarnassos. It is recorded that there was not time to finish it during the reign of Artemisia, and according to Pliny's account it was completed by the artists as a labour of love.

The architects employed were Satyros and Pythios, who described the building in a book which is now lost. The sculptors are said to have been on the east side, Scopas; on the north, Bryaxis; on the south, Timotheos; and on the west, Leochares. Vitruvius mentions Praxiteles in place of Timotheos. Pythis, usually supposed to be identical with the architect Pythios, made the chariot group on the summit.

For many centuries the building was intact, and then but partially ruined. At length, however, in the year 1402, the Knights of St. John took possession of Halicarnassos, and began to build the castle of St. Peter, from which was derived the Turkish name of Budrum. For their purpose they used the ruins of the Mausoleum as a quarry for building materials. At a later date we have an

account, derived from a statement by one of the Knights, who took part in the repair of the castle in 1522, of how they found a platform, widening out like a pyramid, and containing in its midst two chambers, splendidly adorned, and a white marble sarcophagus.

Fig. 39. Attempted Restorations of the Mausoleum.

The latter was broken and pillaged by unknown hands during the absence of the Knights. The smaller fragments they burnt for lime, the larger stones were used for building. Parts of the frieze

and some of the lions were used to adorn the castle of St. Peter, and were thus preserved.

In 1846, Lord Stratford de Redcliffe, then British Ambassador at the Porte, obtained a firman from the Sultan authorizing the removal of the reliefs from the castle, where they had been seen from time to time by travellers, and presented them to the British Museum. Attention was thus drawn to the subject of the Mausoleum, and in 1856 the late Sir C. Newton, who was then acting as Vice-Consul at Mytilene, was empowered to search for the site, and to carry on excavations on behalf of the Foreign Office.

Notwithstanding the success of Sir C. Newton's excavations, materials are still wanting for a complete restoration of the Mausoleum. Six of the numerous attempts that have been made are illustrated in figs. 39, 40.

By a comparison of Pliny's description (N. H., xxxvi., 30) with

the extant remains, it is ascertained that the Mausoleum consisted of a lofty basement, on which stood an oblong edifice surrounded by thirty-six Ionic columns and surmounted by a pyramid of twentyfour steps. This was crowned by a four-horse chariot group in white marble. The total height is given by Pliny as 140 feet, according to the usually received text; by Hyginus (fab. 223) as 80 feet. The edifice which supported the pyramid has by most authorities been assumed to have been encircled by the frieze richly sculptured in high relief, and representing a battle of Greeks and Amazons. Cases occur, however, in the Ionic order of Asia Minor in which the sculptured frieze was omitted, and possibly this was the case with the Mausoleum. Remains have also been found of places on the building have not

three other friezes, but their