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that of any other building, and it is therefore likely that they were used as isolated pedestals.

Sculptures from Prienè. 1150. Fragments of a colossal statue, including parts of each foot, a left upper arm (which has been put together from ninety-three fragments) and a left hand. These may

have belonged to the statue which stood within the temple, and which is praised by the traveller Pausanias. A date is furnished by the fact that several silver coins were found under the supposed pedestal of the statue, bearing the previously unknown portrait of the king Orophernes who usurped the throne of Cappadocia, B.C. 158, and who, it has been suggested (Hicks, Hellenic Journal, vi. p. 268), was probably the original of the Holofernes in the Apocryphal book of Judith.

1151. A colossal female head, broken off from a statue, is very similar to that already mentioned (no. 1051), found on the site of the Mausoleum. This head seems to be of an ideal, rather than of a portrait, type, and is therefore probably the head of a goddess.

1165-1176. On the wall are fragments of a frieze, representing a battle of gods and giants. Beneath the figures, a roughlydressed margin of stone of variable height indicates that the frieze cannot have been a part of the order of the temple. It is more likely that the lower margin was intended to be sunk in some pavement in which case the variable depth of the margin would be unimportant and the frieze would, in that case, serve as a balustrade. No traces, however, of such a balustrade were found on the floor of the temple, and the relief may, therefore, have belonged to some adjoining building.

Among the subjects that can be recognised are, (1168) Helios, the sun-god, in a car drawn by four horses; (1169) a god, perhaps Dionysos, accompanied by a lion, who seizes the giant; (1170) Cybele on a lion at full gallop; (1173) a kneeling figure of a winged giant, whose legs terminate in snakes.

MISCELLANEOUS SCULPTURES.

In the raised gallery at the end of the room are some busts of colossal size and late sarcophagi of Roman Imperial times, namely:1736. A colossal bust of Heracles, which was found under the lava of Mount Vesuvius. Presented by Sir William Hamilton.

2324. Sarcophagus and cover from Hieraptyna in Crete, with a boy holding heavy festoons of fruit and flowers.

1771. Female head, of a barbarian type. Perhaps a personification of Germania.

2303. Large sarcophagus, with reliefs on the front and sides, of a battle of Greeks and Amazons. [The subject on the back is a roughly sketched contest of Centaurs and a Lapith.] From Sidon.

1770. Head of a Gaulish warrior, of the type introduced into Greek sculpture, by the Pergamene school, towards the end of the third century B.C. (Plate XVI., fig. 1.)

2300. Sarcophagus, found at Genzano, with reliefs representing the Labours of Heracles. The subjects taken in order are: (on the front of the lid) the infant Heracles with the serpents; Heracles and the Erymanthian boar; the cleaning of the Augean stable; the shooting of the Stymphalian birds; the capture of the bull of Crete; the combat with the triple Geryon. On the right he receives a winecup from Victory. Below, on a larger scale, on the body of the sarcophagus are: Heracles and the Keryneian stag ; Heracles and Cerberus; Heracles and the Amazon; Heracles and the golden apples in the garden of the Hesperides; Heracles subduing the horses of the Thracian Diomede; Heracles strangling the Nemean lion; Heracles and the Lernaean Hydra.

1734. Bust of Heracles, probably an imitation of the archaic style.

111.* Bust of a Greek poet, from the Somzée collection at Brussels.

On a bracket above is a bust of Sir C. T. Newton (1816-1894), the excavator of the Mausoleum. It was presented by subscription.

[A door in the West wall of the Mausoleum Room leads to the Room of Greek and Roman Monuments, or Mausoleum Annex, for admission to which application should be made to the Commissionaire on duty. A door in the South wall of the Annex leads to the room of Greek Inscriptions to which access can be obtained by persons making a special study of Greek Epigraphy.]

ROOM OF GREEK AND ROMAN
MONUMENTS.*

(MAUSOLEUM ANNEX.)

SUBJECT:-LATER GREEK AND ROMAN RELIEFS.

This room contains sculptures in relief, generally of a sepulchral character, but partly also votive. In both classes the Greek reliefs must be regarded as supplementary to those exhibited in the Phigaleian Room immediately above.

The Greek reliefs are described in the Catalogue of Sculpture, Vol. I., Part III. (price 1s.). For the sarcophagi see the Catalogue of Sculpture, Vol. III. (7s. 6d.), Part II. (3s.).

The iron stands, on the floor of the room, contain a considerable number of Greek and Roman reliefs, sepulchral and votive.

A.

Votive dedications to various deities, for the most part rather late and rough, and other reliefs.

771. Relief with a figure of Athenè, placing a wreath on the head of a man.

B. 772-773. Other reliefs in which Athenè crowns a male figure. In these three sculptures, the figure of Athenè is in its general outlines copied from the Athenè Parthenos of Pheidias (see above, p. 20).

From a comparison of these reliefs with other similar compositions from Athens, it is probable that they are the headings broken off from honorary decrees of the Athenian people, by which crowns were conferred on some city or individual for services to the Athenian state.

C, D. Votive reliefs to various deities, especially to Cybelè.

712-744. A series of reliefs of the type known as The Sepulchral Banquet. In a normal example of the fully developed type, the chief figure is that of a man recumbent on a couch, holding a cup. Before him is a table with food. A woman, according to Greek custom, is seated upright at the foot of the couch. Boys or attendants are seen drawing wine. The head of a horse is often seen at the back of the relief. A snake is frequently introduced, and often drinks wine from a cup held by one of the figures. Further, a group of adorant figures, usually on a small scale, may be represented as about to sacrifice at an altar, near the foot of the couch. It seems probable that we have in these reliefs symbolic representations of offerings made by living relations or descendants for the pleasure and sustenance of the dead. Such offerings of food and drink made by the living at the tomb are common to all primitive peoples.

See especially no. 712. (The inscription is modern.)

E, F. Later Greek and Roman reliefs, mainly sepulchral.

G, H. Inscribed and decorated urns and chest of the Roman Imperial period. The style is rich and characteristic, but the execution is often hasty and rough.

If we proceed round the room, beginning at the door from the Mausoleum Room, the most interesting objects are:

2297. A sarcophagus front with the recognition of Achilles (see 2296 below).

2307. A relief representing the Roman marriage ceremony of joining hands.

2298. Front of a sarcophagus with a Dionysiac procession. Dionysos and Ariadnè, seated on a car, are drawn by a pair of Centaurs, and accompanied by Pans, Satyrs and Maenads. On the right end of the sarcophagus is a quaint representation of a chastisement of Pan by Satyrs.

On the West or window wall of the room are some Greek reliefs, including—

789. A relief which appears to represent offerings to Eileithyia, the goddess of childbirth. A seated figure is approached by women, holding closely swathed babies in their arms. From Sigeum, near Troy.

2312. A sarcophagus relief of a poet reading, and a Muse standing by him with a tragic mask.

2308. A relief in which a party of fishermen have drawn to shore in their net a part of the body of a comrade, together with a shoal of fish. The fishermen make gestures of sorrow and surprise, while a young wind-god (?) blows a conch-shell in the background. This very singular relief may be compared with an epigram in the Greek Anthology (Anth. Pal. vii. 276) on some fishermen, who drew up a half-eaten body in their net, and buried the body and the fish in one grave.

Along this wall are also a considerable number of grave reliefs, from Kertch, whence they were obtained at the time of the expedition to the Crimea. These reproduce the various types of Greek monuments, but in a rough and provincial style.

2323. A typical sarcophagus, of the second to third century A.D., in which a medallion portrait is held up by two winged Cupids, floating in air. Below are Dionysiac and mystic emblems.

2354. Sepulchral relief to the memory of Titus Aurelius Saturninus, one of the equites singulares Augusti, or special imperial bodyguard. The riderless horse is the distinctive symbol of this group of monuments. (Cf. no. 2392 in Stand E.)

957a. Part of a sarcophagus from Xanthos, in Lycia. On the end is a scene of combat; on the back, a decorative subject of a candelabrum between two Gryphons.

2296. Sarcophagus from Hieraptyna, in Crete, with four scenes from the life of Achilles, namely: (1) Achilles being taught a pugilistic exercise by the Centaur Cheiron, to whom his father, Peleus, had entrusted his bringing up. (2) Achilles, disguised as a maiden and concealed among the daughters of Lycomedes, is recognised by Odysseus. A sudden call to arms had been arranged by Odysseus in order that Achilles might reveal himself. (3) Hephaestos (Vulcan) forges the armour of Achilles. (4) Achilles drags the body of Hector round the walls of Troy.

[From the door at the east end of the gallery in the Mausoleum Room a passage leads to the North-West Staircase, which may be conveniently visited from this point.]

THE NORTH-WEST STAIRCASE.

SUBJECT:-MOSAICS.

On the wall of the lower part of this staircase is placed a series of Mosaics obtained in 1856 from the rooms and passages of a Roman villa at Halicarnassos. From the rude character of the drawing, execution, and material, together with the late forms of the Greek letters employed in the inscriptions, it is believed that these Mosaics belong to the third century A.D. The designs include a series of octagonal medallions representing rosettes, birds, fish, masks; also a bust personifying the city of Halicarnassos and inscribed with that name. There were originally companion figures of the cities of Alexandria and Berytus (Beyrout).

A series of Mosaics from a room decorated with animal scenes included the group of two hounds and an ibex (now mounted in two parts); the two lions which originally were pursuing a goat and charging at a bull respectively; the dolphin borders, and, finally, the corner piece, no. 64. Another room contained, among other subjects, the scene of Meleager spearing a wild animal, and Atalanta drawing her bow at a lion (which is now lost). The angles of a large composition contained winged female busts, representing the Seasons. Those of Spring and Summer (both originally inscribed with their names) are partly preserved.

The Mosaics on the upper part of the staircase were mostly obtained from excavations at Carthage and Utica in 1856-8. These Mosaics also belong to the Roman period. The subjects on the second flight include a large head of a marine deity, presented by Hudson Gurney, Esq.; a fountain, with deer drinking; fishermen in a boat, fishing with lines and surrounded by marine creatures ; a perch and two lobsters; Victory holding a tablet, on which is a partially preserved Latin inscription relating to the dedication of a building, and two figures beneath holding up wreaths; a hunting scene on the shores of a lake, on which are two boats, with men hauling in the ends of a net to enclose wild animals.

Above the second landing is placed a Mosaic representing a Triton, which was found in 1872 in a Roman building within the circuit wall of the temple of Artemis at Ephesus.

On the wall of the third flight of stairs are parts of an important Mosaic from Carthage. The whole composition consisted of figures of the Months, radiating from a common centre, and surrounded by a square ribbon border. Medallion busts of the Seasons were in the angles, and the remaining space was occupied by highly decorative floral scrolls (see the diagram from Archæologia, XXXVIII. pl. 9, exhibited on the wall). The extant portions of the composition include figures personifying March, April, July, and probably November, with busts personifying the seasons of Spring (associated

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