Among the sculptures in the round in this Annex may be noticed a draped female figure, perhaps a Muse, found at Erythræ, with a base inscribed with the name of the sculptor, Apollodorus of Phocaea. An altar dedicated to Silvanus by Callistus; an altar sculptured with figures of Muses, from Halicarnassus; another altar with a sepulchral relief, in which the figure of Mercury occurs in his character of Psychopompus, or conveyer of the departed spirits to Hades; a marble chair, with a wheel sculptured on either side; a marble patera with the figure of a Maenad in very low relief; a cistern of green basalt perforated at the bottom; an oblong granite basin; several alabaster vases. Returning to the head of the staircase, the door on the left leads to the ROOM OF ARCHAIC SCULPTURE. The No. 1. Towards the West side of the Room are placed the reliefs from a monument which stood on the Acropolis of Xanthus in Lycia, and is generally known as the Harpy Tomb. The sculptures originally decorated the four sides of a rectangular solid shaft, about seventeen feet high, which was surmounted by a small chamber. style indicates a date probably not later than B.c. 500. The subjects of the reliefs have been variously interpreted; on the sides facing East and West are at the angles Harpies bearing off small draped female figures. Between each pair of Harpies on the East side is a male Deity seated, who receives a helmet from a warrior standing before him: under the chair of the seated Deity is a bear. Under the Harpy on the right is a small female figure kneeling in a suppliant attitude. Between the pair of Harpies on the opposite side of the monument is a seated divinity of uncertain sex, in front of whom a draped female figure stands offering a dove. The seated divinity holds in the left hand a pomegranate fruit, in the right a fruit or an egg. On the side now facing the North, but which was originally the West side of the tomb, are two goddesses seated on thrones facing each other. The one on the right holds in her right hand the flower, and in her left the fruit of the pomegranate. The figure opposite holds in her right hand a phialè. In front of this figure is a cow suckling her calf, below which is a small oblong aperture through which offerings must have been introduced into the sepulchral chamber. On the right of this opening are three draped female figures advancing in single file towards the goddess who holds the pomegranate fruit and flower. The second of the advancing females holds in her right hand a fruit, in her left a flower of the pomegranate; the third holds up in her right hand an oviform object, thought to be an egg. The goddess to whom these figures advance may be Persephonè, and the goddess behind them Demeter. On the South side is a male Deity seated on a throne, and holding in his right hand a pomegranate flower, before whom stands a smaller draped figure offering a cock. Behind this smaller figure a draped male figure, holding a staff in his left hand, advances, accompanied by a hound. Behind the seated Deity two draped female figures advance; the foremost of these holds in her left hand a pomegranate fruit. The small figures at the angles carried off by the Harpies have been thought to be the daughters of the Lycian hero, Pandareus. Another conjecture is that these figures represent the souls of mortals snatched away by untimely death. The subjects of the reliefs on the four sides. of this tomb have all probably a funereal import, but archeologists differ widely in their explanations. See Braun, Annali of Roman Institute, xvi. p. 133; E. Curtius, in Archäologische Zeitung, 1855, p. 1, pl. 73, and 1868, p. 10; Friederichs, Bausteine, I. p. 37. Nos. 2-13. Along the North and South sides of the Room are arranged ten seated figures, a lion and a Sphinx, brought from the Sacred Way leading up to the temple of Apollo at Branchidæ, in 1858. (See Newton, Hist. of Discoveries, &c., II. Part 2, p. 527.) These figures are among the earliest and most important extant specimens of Greek sculpture in marble. Their date probably ranges from B c. 580 to B.c. 520. On the back of the lion (No. 13) is an inscription in five lines, and in very ancient characters, containing a dedication of certain statues as a tenth to Apollo, by several persons who were probably citizens of Miletus. One of the seated figures (No. 7) represents, as we learn from its inscription, Chares, ruler of Teichioussa, who dedicated this statue of himself to Apollo. This is the oldest known portrait statue in Greek art. On another of the figures (No. 4) is part of the name of the sculptor who made it. No. 14. In the centre of the Room is a block of marble with an archaic Greek inscription on two sides, recording a dedication of some work of art by the sons of Anaximander and the name of the artist, Terpsikles. This is also from Branchidæ. No. 15. In the same line is a stone chest from the top of a stelè or columnar tomb. On one side is a man stabbing a lion; on the opposite side are a horseman, a warrior on foot, and an attendant, in very low relief. At either end is a lioness fondling a cub. From Xanthus in Lycia. Nos. 16-19. On the North wall are plaster casts of four metopes from two of the temples at Selinus in Sicily. The three complete metopes, representing (No. 16) a chariot group, (No. 17) Perseus cutting off the head of Medusa, and (No. 18) Herakles carrying off the Kerkopes, belong to the oldest of these temples. The fragment (No. 19) representing part of a group of Athenè overpowering a Giant is from a later temple. No. 20. Under these metopes is a marble frieze with reliefs of Satyrs and wild animals, from Xanthus in Lycia; and (No. 21) a relief of female figures moving in a procession; from Teichioussa, near Branchidæ. No. 22, on the opposite wall, is a marble frieze representing a procession of chariots, horsemen, and foot soldiers; No. 23, the gable end of a tomb, on which are sculptured two seated male figures facing each other, between whom is an Ionic sepulchral column surmounted by a Harpy; and Nos. 24-25, other similar portions of tombs with figures of Sphinxes in relief. No. 26, higher up on the wall, is a narrow frieze with figures of cocks and hens. These sculptures are from Xanthus in Lycia. To this wall are also attached two plaster casts; the one (No. 27) from an archaic relief from the Acropolis of Athens, the other (No. 28) from a relief in the Villa Albani, generally known as the Leucothea Relief, and which in style and subject resembles the reliefs on the Harpy tomb. (Overbeck, Griechische Plastik, 2nd Ed. I. p. 159.) Along the West side of the Room are the following statues and heads. No. 29, a draped female torso from a temple at Rhamnus in Attica; No. 30, a small figure of Apollo brought from the East by Percy Clinton, Viscount Strangford; No. 31, another figure, perhaps also representing an archaic Apollo, from Greece; No. 32, a statue of Apollo, of a somewhat later period, formerly in the ChoiseulGouffier Collection; No. 33, an ancient copy of an archaic head of Apollo from the Townley Collection; Nos. 34-37, four terminal heads of Dionysos and Hermes; Nos. 38, 39, fragments of reliefs found in the ruins of the temple of Diana at Ephesus, two large archaic terracotta vases (pithoi) from Rhodes, the one (No. 40) found at Kameiros, the other (No. 41) at Ialysos. The Etruscan Monuments formerly in this Room are transferred to a new Etruscan Room now in course of arrangement. No. 42. On the South side of the Room is a rock-cut figure of calcareous stone, found near Smyrna in 1869. (Revue Archéologique, 1876 (xxxi.), p. 325.) Between the Room of Archaic Sculpture and the Mausoleum Room is a small ANTE-ROOM, in which are on one side a seated figure of Demeter, two pigs dedicated to Persephonè, and several heads and other sculptures, all of which were found in the temenos of the Infernal Deities at Knidos. (See Newton, Hist. of Discoveries, &c., II., Part 2, p. 375.) In the opposite recess are a statue of Dionysos, of the type called the Indian Bacchus, found at Posilipo near Naples; a head of which the eyes formerly contained enamel; a torso, perhaps of the nymph Cyrene, found at Cyrene (see Smith and Porcher, Discoveries, &c., pp. 91-8), and a disk, with relief representing Apollo and Artemis destroying the family of Niobè on Mount Sipylos; from Rome. MAUSOLEUM ROOM. In this room are arranged the remains of the Mausoleum at Halicarnassus erected by Artemisia, about B.C. 352, over the remains of her husband, Mausolos, Prince of Caria, and discovered in 1857. It consisted of a lofty basement, on which stood an oblong Ionic edifice, surrounded by 36 Ionic columns, and surmounted by a pyramid of 24 steps. The whole structure, which, according to Pliny, was 140 feet in height, was crowned by a chariot group in white marble, in which, probably, stood Mausolos himself represented after his translation to the world of demigods and heroes. The peristyle edifice which supported the pyramid was encircled by a frieze richly sculptured in high relief, and representing the battle of Greeks and Amazons. Remains have been found of three other friezes, one of which probably decorated the basement, and the other two the external walls of the cella. The monument was further adorned with many statues and groups, some of which probably stood between the columns, and with a number of lions which we may suppose to have been placed all round the edifice as guardians of the tomb. The four sides of the tomb were severally decorated by four celebrated artists of the later Athenian school, Skopas, Leochares, Bryaxis, Timotheos. A fifth sculptor, Pythis, who seems to be the same as Pythios, the architect of the Mausoleum, made the chariot group on the apex of the pyramid. The material of the sculptures was Parian marble, and the whole structure was richly ornamented with colour. The tomb of Mausolos was of the class called by the Greeks heröon, and so greatly excelled all other sepulchral monuments in size, beauty of design, and richness of decoration, that it was reckoned one of the Seven Wonders of the ancient world, and the name Mausoleum came to be applied to all similar monuments. The remains of the Mausoleum in this Room consist of— I. SCULPTURES IN THE ROUND. No. 1. Two portions of the colossal horses from the chariot group on the apex of the pyramid. No. 2. A statue, believed to be that of Mausolos himself, and to belong to the chariot group. No. 3. A statue, believed to be from the same group, probably representing the goddess who acted as charioteer to Mausolos, or Artemisia herself when deified. No. 4. Part of an equestrian group, representing a warrior in Persian costume. No. 5. A seated male figure draped in a chiton and mantle. No. 7. A colossal female head. No. 8. Part of a head of Apollo. No. 9. Part of a bearded head. No. 10. A youthful male head, probably of a hero. No. 11. A number of fragments of lions, standing in watchful attitudes, and probably placed round the tomb as its guardians. They vary in scale, but the height of the largest did not probably much exceed five feet. To this list of sculptures in the round may be added fragments of many other statues, heads, and lions, too mutilated to require notice here. II. SCULPTURES IN RELIEF. No. 1. Frieze of the Order representing a combat of Greeks and Amazons. Of this frieze the Museum possesses seventeen slabs, of which twelve, after having been removed from the castle of Budrum, in 1846, by permission of the Porte, were presented by Viscount Stratford de Redcliffe in the same year, four were discovered on the site of the Mausoleum in 1857, and the remaining one was purchased in 1865 from the Marchese Serra, at Genoa. No. 2. Frieze representing a combat of Greeks and Centaurs. This probably encircled the basement. No. 3. Frieze, on which is sculptured a chariot race, probably representing one of the contests held at the obsequies of Mausolos. No. 4. Groups in high relief set in square sunk panels. These may have been inserted in the walls of the cella. III. ARCHITECTURAL MARBLES. No. 1. One of the steps which formed the pyramid. No. 2. Portions of the cornice, richly decorated with projecting lions' heads as waterspouts, and floral ornaments. No. 3. Portions of architrave. No. 4. Ionic capital. No. 5. Ionic capital from the angle of the peristyle, under which are two drums of a column. No. 6. Base of Ionic column. No. 7. Marble from the upper course of the lacunaria. No. 8. A number of detached mouldings which were let into various parts of the architecture. |