discovery. The Monument, as thus restored, is an Ionic peristyle building, with fourteen columns placed round a solid cella, and with statues in the intercolumniations, the whole elevated on a basement, podium, which stands on two steps. This building was supposed by Sir C. Fellows to have been a trophy in memory of the conquest of Lycia by the Persians under Harpagos, B.C. 545; but this is not probable, as the style of the architecture and sculptures shows that it must be assigned to a much later date. Recent authorities suppose this monument to have been erected in the first half of the fourth century B.C., in honour of a native Satrap or ruler of Lycia, probably the Satrap Perikles, who, as we know from a fragment of Theopompos (Fragmenta Hist. Graec. I. p. 95), attacked and captured the town of Telmessos.

On the walls of the Room are the several friezes which decorated the building (Engraved, Mon. d. Inst. Arch. Rom. X. Pll. 13-18). Nos. 4-19 are slabs of the broad frieze which is believed to have encircled the lowermost part of the basement, representing a battle between Asiatic warriors, some of whom are mounted, and Greeks. These are placed round the West half of the Room.

Nos. 20A-37 are portions of the narrow frieze which ran round the uppermost part of the basement (see the Model), and which represented, according to the most recent interpretation, four scenes: (1) An attack upon the gates of a fortress; (2) The siege of a fortress; (3) The capitulation of a fortress, and (4) battles in the open field. These slabs are placed on the North and South walls of both the West and the East divisions of the Room.

No. 20A, in the West side of the Room, is an assault upon a fortress with the aid of a scaling-ladder: on the next slab, No. 21, are warriors advancing to the attack in single file.

Nos. 22, 23, 24A, scenes of combat.

No. 24B, warriors advancing probably, to attack the fortress, which is represented in the Eastern half of the Room on slabs 25, 26, 27.

Nos. 28, 29, 30, on the same wall, and Nos. 31, 32, on the opposite wall, represent scenes of battle. On No. 33 prisoners are being conducted in single file.

Nos. 34, 35, 36 represent probably the same fortress after its capture. On No. 36 is a Satrap seated, and attended by a slave holding a parasol over his head: the figures advancing towards him are probably the vanquished enemy tendering their submission. On No. 35, above the lower line of fortifications, is seen a tomb surmounted by a Sphinx between two lions.

No. 37 represents warriors standing conversing, and

No. 20в warriors advancing in single file.

Nos. 38-43 are slabs of a narrow frieze which encircled the cella of the monument (see the Model), and which represents a banquet, with a sacrifice of rams, bulls, and goats.

Nos. 44-47, on the Eastern wall, are slabs of a narrow frieze which surmounted the columns of the peristyle, representing a battle of horsemen and warriors on foot.

D

Nos. 48-51 are scenes representing the chase of the bear and wild boar, from the same frieze; as are also

Nos. 52-55, on the adjacent North wall: figures bringing offerings. No. 56, a part of the tympanum of the Eastern pediment of the monument, contains sculptures in relief, representing two seated figures, probably divinities, approached by worshippers.

No. 57, one-half of the tympanum of the Western pediment, contains a relief representing a battle between cavalry and infantry.

Above the two friezes in the West half of the Room is a restoration of the cornice of the basement, with the columns and statues which surmounted the stylobate. The plaster casts employed in this restoration have been made from figures and architectural members exhibited in this Room.

Nos. 58-64 are a column, two portions of columns, and three capitals from the peristyle, and a piece of moulding from the cornice of the basement.

Nos. 65-68 are coffers of the ceiling.

Nos. 69, 70, capitals of pilasters.

Nos. 71-76, roof tiles and other architectural members.

Nos. 77-84, are statues which stood in the intercolumniations. They represent female figures moving rapidly, which from the marine emblems under their feet are probably Nereids, or possibly personifications of cities on a sea-coast. No. 77 has under her feet a crab: No. 78 a fish, perhaps the tunny: No. 79 a sea-bird: No. 82 a shell, and No 83 a dolphin.

Nos. 85-90. Fragments of similar figures.

Nos. 91, 92. Two draped female figures in rapid motion, similar to Nos. 77-84, from the akroteria of the pediments.

Nos. 93, 94. Fragmentary groups of youths carrying off female figures, conjecturally placed on the apex of either pediment (see the Model).

Nos. 95, 96. Lower portions of two figures in rapid motion, from the North and South ends of the West pediment.

Nos. 97, 98. Two crouching lions, found at the base of the monument, and in the model conjecturally placed within the colonnade. A representation of similar lions may be seen on the summit of a tomb on slab No. 35, of the narrow frieze of the basement.

Nos. 99-101. Three draped female torsos, of an architectural character, of which Nos. 99 and 100 are in the East, and No. 101 in the West half of the Room.

No. 102, in the East half of the Room, is a slab representing the bust of Diana in relief between Doric triglyphs, from a Roman arch at Xanthus.

No. 103, in the West half of the Room, is a square monument of the Roman period with reliefs of Plutus and Fortune on one side, and a Persian shooting at various animals on a mountain on the other. Nos. 104-106, three pieces of moulding.

Nos. 107-110, on the East side of the Room are casts from the reliefs of a tomb cut out of the solid rock at Pinara, with represen

tations of an ancient walled city built on rocky ground. On No. 107 are represented tombs near the city, two of which are similar in form to the tombs exhibited in this Room.

Nos. 111-116, on the same Wall are casts from the sculptures of a rock-tomb at Myra, coloured to represent its condition when the casts were made.

Nos. 117-119, on the opposite Wall are casts (No. 117) from a relief of a draped male figure, and (Nos. 118, 119) from the sculptures of the gable ends of two tombs. On No. 118 are two female figures, probably Hierodules, wearing short chitons and dancing: on No. 119 are two lions devouring a bull: above them a Lycian inscription.

Nos. 120-122, on the West side of the Room, are casts from the reliefs of a rock-tomb at Kadyanda. Near several of the figures are bilingual inscriptions in the Greek and Lycian languages. The group of figures on the extreme left of No. 120 is engraved as the frontispiece of Fellows' Discoveries in Lycia."

Nos. 123-125, on the opposite Wall, are casts from the sculptures of a rock-tomb at Pinara: No. 123, a portion of the pediment: No. 124, one of the Gorgons' heads with which the ends of the dentils were decorated: No. 125, from the frieze, represents warriors escorting captives.

Nos. 126, 127, in the West half of the Room, are casts from sculptures at Tlos: No. 126 is a relief, representing Bellerophon attacking the Chimaera: No. 127 is a monolithic pedestal on the four sides of which are the following subjects in relief: the siege of a city, the combat of two horsemen, of an armed Greek on foot against an Asiatic on horseback, and two combatants on foot: above this pedestal is a smaller base on which are figures in relief.

C. T. NEWTON.

INDIAN SCULPTURES.

In two upright cases in the Hall and in two cases on the pedestals, half way up the first flight of the Great Staircase, have been placed, temporarily, a number of Sculptures executed in a grey schistose stone, found near Peshawur in the Punjab.

These sculptures are of considerable antiquity, and have been found in the ruins of Buddhist monasteries. It will be seen that they exhibit traces of the influence of Classic Art, probably derived from the Greek colonists in the Bactrian kingdom.

On the walls of the staircase have been arranged some of the sculptures from the great Buddhist tope at Amaravati, on the river Kistnah, in Southern India, chiefly presented to the India Museum by Sir Walter Elliot, K.C.S.I., and transferred to the British Museum by the India Office in 1880.

A Tope is a shrine peculiar to the Buddhist religion, and may have been suggested by the tumulus and surrounding circle of stones of the early Turanian races. In the centre is a solid dome-shaped structure, termed a dagoba, enclosing one or more small chests with relics of Buddha or of his principal followers. This is generally surrounded by an elaborately carved rail.

The Amaravati (ambrosial) Tope is believed to have been erected by one of the Rajahs of the Nagas or Serpent worshippers, and representations of them and of the sacred Naga, or seven-headed serpent, are not infrequent among the carved designs. There is some dispute as to the exact date of its erection, and from the difference of styles in the ornamentation it is probable that its construction extended over some centuries. Mr. James Fergusson is disposed to place the date of its construction between A.D. 200 and A.D. 400.

The diameter of the whole tope was nearly 200 feet, but there is an uncertainty as to the size of the central dagoba, the centre of the mound having been removed by a rajah of Chintapalli about seventy years since to make place for a large tank.

Attention was first called to these remains by Colonel Mackenzie, who visited them in 1796, and again in 1816 and 1817, when he conducted extensive excavations and had drawings made of the sculptures thus brought to light. One set of the drawings is preserved at the India Office; a few of the sculptures were sent to England, but the bulk seem to be lost. In 1845 Sir Walter Elliot made further excavations at the spot, which resulted in the discovery of the marbles here exhibited. They were, however, stowed away out of sight on reaching England till Mr. James Fergusson called attention to them. He included photographs, engravings, and descriptions of all that were known to him in his work "Tree and Serpent Worship," London 1868 and 1873. In 1877 further excavations were made in the tope by order of the government of Madras, under Mr. Robert Sewell, who has published a Report on the subject.

The sculptures may be divided into three classes; the older and coarser slabs are considered to have formed part of the central dagoba. The delicately carved slabs representing topes lined an internal wall, which either formed the base of the platform of the dagoba or an inner enclosure. The large upright slabs and intervening disks formed the outer rail, which was surmounted by a rich frieze and sculptured on both sides; the inner face (that exhibited), being much richer than the other. The inscriptions are in the Pali language, and record the names of the persons at whose cost the various portions were erected.

The subjects are very varied and difficult to identify; many of them seem to refer to local events in which the Naga monarchs appear. Others illustrate events in the life of Gautama Buddha, the founder of Buddhism (who is believed to have lived from 623 to 543 before Christ), or events from Jatakas, or tales of what was believed to have occurred to him when a Bodhisat in a previous state of existence.

To the left of the Entrance Hall is the

ROMAN GALLERY.

On the South side, under the windows, are miscellaneous Roman antiquities discovered in this country, belonging to the Department of British Antiquities. On the opposite side is the series of Roman Iconographical or portrait Sculptures, whether statues or busts, forming part of the Department of Greek and Roman Antiquities. Each wall is divided by pilasters into six compartments.

ANGLO-ROMAN ANTIQUITIES.

Immediately to the left of the door, on entering, are Pigs of lead, marked with Roman names, which specify either the mines from which the metal was obtained, or the Emperors, or local authorities, by whose license it was worked and sold.

Against the walls are mosaic or tesselated Pavements.

The oblong piece in Compartment I., decorated with a figure of Neptune, amidst fishes and marine monsters, was found in the ruins of a Roman villa at Withington, Gloucestershire. The large pieces in Compartment II., and the two smaller pieces, to the left hand, in Compartment III., originally formed part of the same pavement, though the space does not admit of placing them in juxtaposition.

The right-hand fragment in Compartment III. was discovered at Woodchester, in the same county.

In each of the first four Compartments stands a Sarcophagus, which, like most monuments of Roman sculpture found in this country, exhibits, more or less, the rudeness of provincial art. Within the Sarcophagus in Compartment IV. (which was discovered in London) was found a leaden coffin, the lid of which may now be seen above the Sarcophagus. Within the three other Sarcophagi were discovered various remains, consisting chiefly of vases of glass or red earthenware, and in one instance a pair of richly-ornamented shoes, all of which are exhibited in glass cases in the British Room and Second Egyptian Room.

The large scroll in Compartment V. is probably an ornament from the cover of a Sarcophagus. It was found (with the fragment of a mill-stone, now placed on it, and two sepulchral Inscriptions, in Compartment VI.) at the foot of the old Roman wall of London. In the intervening spaces are placed Roman Altars.

Against four of the pilasters on this side stand Ogham Inscriptions, of which three are from Ireland, and one from Fardell in Devonshire. Against another pilaster is a remarkable Altar, with a dedication in Greek to the Tyrian Hercules.