80. Sepulchral chest, adorned with reliefs on the four sides. This tomb was made of a single block of hard, coarse limestone. It was found by Fellows in its original position, on a shaft, which

Fig. 3.-View of the Lion Tomb at Xanthos. No. 80.

appears to have been about 9 feet high (see fig. 3). On the top of the chest there is a rebate to receive the lid, which was formed of a separate block and has not been found. On the sides are subjects in low relief, namely, a warrior and horseman with attendant; a man

contending with a lion, and a seated figure. The animal groups in high relief at the ends are difficult to distinguish. At one end is a lion. Between the paws of the lion is seen the head of a bull, which has been overthrown, and is seized by the throat. At the other end is a lioness playing with cubs. A cub is seen, with its forepaws across the paws of the lioness; a second cub lies on its back, over the first. There is some reason for thinking that this monument is the oldest of the Lycian sculptures.

81. Frieze of Satyrs and animals, found built into the walls of the Acropolis at Xanthos. The Satyrs are forced into strange crouching positions, since the inexperienced artist has not understood the necessary relations of the height of the figures and the height of the frieze.

82. Frieze of cocks and hens. Eight cocks and five hens represented as standing, walking, picking up food, or fighting. The work, which originally contained more birds, is carefully studied from nature. The cock had been brought to the West from Persia no long time before the date of this relief (about 550 B.C.).

86. A frieze representing a procession moving from left to right. The company consists of persons in chariots, on horseback, and on foot. The principal figure appears to be the venerable old man, who is seated in the second chariot, and holds a flower and, perhaps, also a cup. In various details, such as the treatment of the crests and tails of the horses, and the use of whisks by the standing figures, we are reminded of the East, and are led to infer that the relief is later than the Persian conquest. It is clear from the oblong holes that occur at intervals that beams must once have projected from the lower margin, and from the treatment of the holes it is seen that this was the original intention of the work. is probable that the frieze belonged to a tomb, and represented a funeral procession. On the left is a slab (no. 87), perhaps from another tomb, on which, between two standing figures, we see the foot of a corpse, laid out on a couch.

It

89, 90, 91, 92. Gable ends of a tomb. On each side of the doorways is a seated Sphinx. Above the lintel are two lions at one end. Probably a similar group was also worked on the other end. Like many of the Lycian sculptures, these reliefs were brilliantly coloured when they were discovered, with red, blue, yellow, etc., but only faint traces can now be detected.

93. Gable end of a tomb. In the centre of the relief is a low column, with an Ionic capital, of peculiar form. A Siren stands to the front, on the column, and on each side are seated figures of old men. This relief, like those above mentioned, retained its colouring when discovered.

94. The Harpy Tomb. The monument known as the Harpy Tomb is one of the most important and elaborate works of archaic art that have survived.

The four reliefs, as may be seen in the illustration (fig. 4), form the sides of a sepulchral chamber, placed on a high shaft, and

surmounted by a massive coping-stone. The internal walls of the chamber were painted with Christian frescoes, indicating that at one time it had been occupied by some Stylites, or hermit living on a column.

1. West Side. This relief is divided into two unequal parts by a small doorway which formed the entrance to the tomb. The door

Fig. 4. View of the Harpy Tomb from the north-east. No. 94.
(After a drawing by George Scharf.)

way must have been filled up with a slab of stone. Above, the space is filled by a relief of a cow giving suck to a calf. Two stately female forms, who ought perhaps to be regarded as seated side by side, are enthroned. To one of these, three women approach as if bringing offerings.

2. North Side. -An old man, seated on a chair, receives a crested helmet which is offered to him by a young warrior.

name.

At each side of this group, but disconnected from it, are figures formerly known as Harpies, from which the monument derived its Their type is rather that of a Siren, while their character is that of a Genius of death. In their arms and talons each gently carries a diminutive figure, probably a deceased person, who makes a gesture, as of affection.

At the right corner of the relief a draped figure crouches on the ground in an attitude of deep grief, and looks up to the flying figure above.

3. East Side. -A venerable bearded man is seated on a throne. A boy offers a cock, and three other persons stand in attendance.

4. South Side.-Another enthroned figure is attended by a person holding a dove, and with the right hand raised in a gesture of adoration. On each side of the main group, but disconnected from it, are the winged figures with their burdens, as already described.

Interpretations. On the first discovery of these sculptures they were supposed to represent a definite myth, the rape of the daughters of Pandareos, king of Lycia, by the Harpies, but for many reasons this view is untenable. It is obvious from the Harpies,' from the figures that they carry, and the crouching mourner, that the subjects are connected with death and the tomb. The enthroned personages have often been interpreted as deities connected with the lower world, such as Demeter and Persephonè on the west side. It seems more probable, however, that they are figures of the heroified dead, receiving offerings from the living. If that is the intention of the reliefs, it is analogous to that of many other grave monuments.

Style and Period. In the Harpy Tomb we have a fine example of the work of the Ionian School, which may be placed soon after the middle of the sixth century. The sculptor, while wanting ease of execution, has given great care to the decorative accessories. Note on the west side the Sphinx, ram's head, and swan's head of the thrones, and on the east side the recumbent Triton.

The reliefs were also elaborately painted, though to-day the colour can only be inferred from the inequalities of the surface of the marble, due to the unequal protecting powers of the different colours. There were an egg and tongue pattern on the lower moulding, a maeander or key pattern on parts of the upper moulding, and palmettes on two of the thrones. Ornaments were also added in bronze, for which rivet-holes remain in the marble.

130. Fragment from Delos.-Fragment of a foot of a colossal statue of Apollo, together with a part of the plinth in the same block. This fact is recorded on one of the still extant inscriptions on the base at Delos, 'I am of the same stone, both statue and base. The other inscription, The Naxians, to Apollo,' shows that this is a fragment of a colossal statue dedicated by the Naxians

at Delos. The fact of its having been accidentally overthrown by the fall of another offering in a storm is mentioned by Plutarch.

205. Figure of Apollo (?) standing. 206. Figure of Apollo (?) standing. the collection of Lord Strangford.

From Boeotia.
From Lemnos (?). From

From Cyprus.

207. Figure of Apollo (?) standing. There has been some controversy with respect to these figures, and others of the same class, whether they represent Apollo or athletes, or simply figures for a tomb. But no doubt the type was used for any of the three purposes. In more fully developed sculpture the artist learnt to distinguish the types. The forms of his gods became softer, and those of his athletes more muscular. The Strangford figure (no. 206) is an excellent example of sculpture at the stage immediately before maturity and freedom.

208. Head of Apollo. The sharply cut outlines of the features, and the wiry character of the hair, suggest that this head is the copy of an archaic work in bronze.

209. Statue of Apollo, formerly in the collection of ChoiseulGouffier, for many years French Ambassador at the Porte. The missing left hand held some attribute, perhaps a branch, for which there is a mark of attachment by the left knee. The right hand, which rested on the stump beside the right leg, seems to have held a strap. Apart from its somewhat formal beauty, this statue is interesting, because it is one of several replicas of a lost original of the period of transition from archaic to fully developed art, and is presumed to be the work of some famous sculptor-perhaps Calamis. Two replicas of the head, the existence of which proves the popularity of the original work, are also exhibited (nos. 210, 211).

2728. A female (?) head, a remarkable specimen of archaic Greek sculpture. It is probably the work of an Attic sculptor of the end of the sixth century B.C. It is of uncertain origin, but was probably brought from Greece by the traveller Philip Barker Webb early in the 19th century. Presented by R. W. Webb, Esq.

A series of early limestone chests (or cistae) from Etruria stands on the floor. They show scenes of banquets, hunting, and the like, in low relief.

Near the Harpy Tomb is the upper part of a marble sarcophagus cover, with a male head in a fairly free style. These humanshaped sarcophagi (deriving their ultimate origin from the Egyptian mummy cases) are usually found in Phoenicia or in regions under Phoenician influence; but such works as the present are evidently by a Greek sculptor of the first half of the fifth century B.C.

460. Fragment of a colossal head, with indications of a wreath. Probably a fragment of the famous statue of Nemesis, made at Rhamnus in Attica, by Agoracritos of Paros, who is said to have been a favourite pupil of Pheidias. According to tradition, the statue was carved out of a block of Parian marble, which was