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countenance and attitude express the eagerness of the contest. The features, which are beautifully sculptured, have an anxious look.

GROUPS IN PANELS.

1038-1042. Fragments of groups in relief, in panels. The destination of the panels is uncertain. In the restored Order, no. 980, they have been taken to be the covering slabs of the coffers of the ceiling of the colonnade. The subjects are too fragmentary to be made out with certainty. In no. 1041 the subject may, perhaps, be Theseus overthrowing the robber Skiron.

MISCELLANEOUS SCULPTURES FROM THE MAUSOLEUM.

Besides the chariot group and the sculptures in relief already described, the site of the Mausoleum yielded numerous sculptures that probably formed part of its decorations, though they cannot be assigned to definite places. Among these note especially :—

1045. Torso of an equestrian figure, much mutilated. The rider sits a bare-backed prancing horse: he wears close-fitting trousers, a dress characteristic of Asiatics generally in ancient art, over which falls a tunic with sleeves. The left hand holds the reins with a firm nervous grip, strongly though roughly rendered by the sculptor. The upper part of the rider was a separate piece.

Notwithstanding the great mutilation which this torso has received, it must be considered an admirable example of ancient sculpture. The body of the horse is a masterpiece of modelling : the rearing movement affects the whole frame. Equal skill is shown in the representation of the firm, but easy seat of the rider.

1051. (In the gallery at the north end of the room.) Colossal female head, with the hair arranged in the manner of the Artemisia. This head is remarkable for the largeness and simplicity of treatment, in the manner of Scopas.

THE LIONS.

1075, etc. A numerous series of lions was found, partly in the castle of St. Peter, and partly in the excavations. They are all posed in a similar and formal fashion, with their heads turned either to right or left. They were evidently disposed, with architectural symmetry, as emblematic guardians of the tomb, but their position cannot be determined.

ALABASTER VASE.

1099. At the north end of the room is an alabaster vase, inscribed with the name of Xerxes. This inscription is in four languages, namely, Persian, Median, Assyrian and Egyptian, and

each is translated "Xerxes the great King." This vase is one of a group, of which several examples are extant. It is conjectured that they were distributed as royal presents by the Persian monarchs, and that the specimen found in the Mausoleum may have been a valued heirloom in the family of Mausolus.

LION FROM CNIDOS.

1350. In the middle of the room, behind the chariot group, is a Colossal Lion (Plate XII.), which was found lying overturned on a lofty promontory, about three miles to the east of Cnidos. On the site where it was lying were the remains of a Greek tomb, which consisted of a square basement surrounded by engaged columns of the Doric order and surmounted by a pyramid. It was evident, from the position in which the lion was found, that it had once surmounted the pyramid, whence it had been thrown down, probably by an earthquake.

The position of the monument on a promontory was thought by Sir C. Newton to indicate that it was connected with a naval victory, and he suggested a victory gained off Cnidos by the Athenian admiral Conon over the Lacedaemonians in 394 B.C. as that commemorated. It is evident, however, that both suggestions are very conjectural.

The style of sculpture in this lion is large and simple, and well suited for its original position on a monument 40 feet high, overlooking a headland with a sheer depth of 200 feet, and with a wild rocky landscape round it. The eyes, now wanting, were probably of glass, or perhaps, of precious stones. Pliny tells (N. H., xxxvii., 6) of a marble lion, on the tomb of a prince in Cyprus, with emerald eyes so bright that the fish were terrified until the stones were changed.

SCULPTURES, ETC., FROM PRIENÈ.

[In the North-West corner of the room, and between the Cnidos lion and the chariot group. Some are temporarily displaced.]

These sculptures were found in the course of excavations which were carried on by the Society of Dilettanti, on the site of the temple of Athenè Polias at Prienè. The transport of the marbles to England was provided for by the liberality of Mr. John Ruskin, and they were presented to the British Museum by the Society of Dilettanti.

The temple of Athenè Polias is named and dated by an inscription on one of its piers (in the Hall of Inscriptions, see p. 96), stating that King Alexander (that is Alexander the Great) dedicated the temple to Athenè Polias. The date of the inscription is probably 334 B.C.

The temple was of the Ionic order, with eleven columns on the flanks and six at the ends, making thirty in all, besides a pair of columns fronting the piers at either end of the central cella. [For a view and restoration see the screen behind the Cnidos lion.]

1125-1142. The architectural remains include:-(1125) An Ionic capital from the colonnade; (1127) a partly-restored capital of one of the piers at the end of the cella, with a highly ornate system of mouldings and acanthus patterns. This cap may have crowned the inscribed pier, mentioned above. (1131) Fragments from the cornice of the temple, with lion's head waterspouts, connected by acanthus scrolls. (1134, 1135) Two square pedestals, adorned with Gryphons and other reliefs. These cannot be placed in the architectural order of the temple, or, so far as is known, in 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 ninetythree 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 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.

as a

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.

Near the restored column of the Mausoleum is a fine head of Hermes, or perhaps Heracles, from the Aberdeen collection. This head, which has a striking resemblance to the Hermes of Praxiteles, has lately been claimed as another original work by the hand of that sculptor.

In the raised gallery at the end of the room are some busts of colossal size, namely: :

1736. A colossal bust of Heracles, which was found under the lava of Mount Vesuvius. Presented by Sir William Hamilton. 1771. Female head, of a barbarian type. Perhaps a personification of Germania.

1770. Head of a Gaulish warrior, of the type introduced into Greek sculpture, by the Pergamene school, towards the end of the 3rd century, B.C. (Plate XV., fig. 1.)

111.* Brussels.

Bust of a Greek poet, from the Somzée collection at

1051. Head from the Mausoleum, mentioned above, p. 67. 1734. Bust of Heracles, probably an imitation of the archaic style.

On a bracket above is a bust of Sir C. T. Newton, the excavator of the Mausoleum, which 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.

On the South wall, beginning at the left of the door, are a series of Greek votive reliefs. Among them note

771-773. Three reliefs, in which a male figure receives a wreath from the hand of Athenè, whose figure is in its general outlines copied from the Athenè Parthenos of Pheidias (see above, p. 18).

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.

Several reliefs, from later Greek tombstones, and from the fronts of Roman sarcophagi. Among the latter are

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

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.

Here are also examples of Roman cinerary urns and small sarcophagi, decorated with reliefs, and having a rich and characteristic but somewhat florid system of ornament.

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

*The Greek reliefs are described in the Catalogue of Sculpture, Vol. I, part 3 (price 1s.). For the sarcophagi see the Catalogue of Sculpture, Vol. III. (7s. 6d.), part 2 (3s.),

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