1000. Mausolus, a majestic portrait statue. On his left side projecting folds of the drapery have been chiselled away. This is thought to have been done when the statue was being adjusted to the side of the chariot.

1001. Colossal female figure, probably Artemisia. The figure was at first described as a goddess, but the proportions compared with those of Mausolus, and the portrait character of the head are better suited to Artemisia. The head-dress is also of a portrait character.

The arms are broken below the elbows. Both were advanced, with the right forearm lowered, and the left forearm raised. Their position corresponds sufficiently with that of a figure holding reins, when the horses are at rest. There are holes for a bronze attachment on the drapery below the left arm.

1002. Part of a colossal horse, with the original bronze bridle. 1003. Hinder half of a similar horse. 1004. One wheel of the chariot, restored from several fragments.

Sculptures in Relief. The works in relief found on the site of the Mausoleum consist of portions of three distinct friezes, viz., the supposed frieze of the Order, the Centaur frieze, and the Chariot frieze, and of a series of reliefs in panels. Of these the most important is the frieze of the Order, that is the frieze that surmounted the exterior colonnade.

The Frieze of the Order (?).-1006-1031 (Plate XII.). Of this frieze the British Museum possesses seventeen slabs, twelve of which were removed from the castle of St. Peter in 1846, and four more were discovered in 1856-59 on the site of the Mausoleum.

One other slab usually assigned to this frieze, no. 1022, was formerly in the Villa di Negro at Genoa, to which place it was probably transported from Budrum by one of the Knights of St. John, some time in the fifteenth or early in the sixteenth century, and was purchased from the Marchese Serra in 1865. The entire length of these slabs is 85 feet 9 inches. The slabs do not follow in regular sequence, but are taken from various parts of the series; nor have we any evidence as to the sides of the building which they occupied except in the case of those found in situ (1013-1016), which are probably from the eastern side, that is from the side assigned by Pliny to the sculptor Scopas. The following is a recent attempt to assign the slabs to the four sculptors: Scopas, 1013-5, 1025; Timotheos, 1006-8, 1010-2, 1016–7; Bryaxis, 1009, 1019 [and 1022]; Leochares, 1018, 1020-1. (Wolters & Sieveking, Jahrb. d. Arch. Inst. xxiv., p. 171.)

The subject of this frieze is the war of the Greeks and Amazons. The Amazons are represented some on foot, others on horseback. Their weapons are the battle-axe and the sword. From the action of several of those on horseback, it is evident that they were represented using spears or bows: but as no trace of these weapons appears at present on the marble, they may have been painted on the ground of the relief; or in some cases made of metal and attached to the marble.

All the Greeks are on foot; some of them are represented naked, others wear a tunic reaching to the knees, or a cloak twisted round

the arm. Their weapons are the sword and the javelin, together with helmets and round bucklers.

In the composition, the groups and figures are disposed in more open order than in the Parthenon and Phigaleian friezes, leaving larger spaces of the background free. The relief is exceedingly high, the limbs being constantly sculptured in the round; bold foreshortening is sometimes used. The outlines are marked with extreme force, and in some of the slabs the figures are singularly elongated in their proportions.

1008. One of the male figures on this slab is about to strike with his club an Amazon who has fallen on both knees, and whom he drags towards him by her hair. He wears a lion's skin knotted in front, and though the face is nearly obliterated, the outline of a beard may be traced; it is therefore probable that this figure represents Hercules. 1010. The mediaeval inscription which has been added to the shield of one of the figures has not been deciphered. In 1013 the left leg of the kneeling warrior is an example of bold foreshortening. The apparent inequality in the length of the thighs is due to an optical deception. In 1015 is a mounted Amazon, whose horse is galloping to the right. The rider has turned round so as to face the horse's tail, and is drawing her bow, after the Parthian fashion, at an enemy behind her.

1016. The position of the horse and rider greatly resembles that of the equestrian group in the round (no. 1045). 1017. This fragment had somehow found its way to the Imperial Museum at Constantinople, and was presented by His Majesty the Sultan. 1022. This slab was purchased from the Marchese Serra of Genoa (see above). The upper moulding has been cut away, and other retouchings have been made-doubtless by an Italian restorer. On the ground of these differences the connexion of the slab with the frieze has been questioned, but probably without valid reason. 1023. The principal fragments of these figures were found at Rhodes. Centaur Frieze.-1032-1035. Slabs and fragments of a frieze with a battle of Greeks and Centaurs. The original position of this frieze on the building is uncertain. It has sometimes been considered to be the frieze of the Order, but for this its mouldings are less suitable than those of the Amazon frieze.

Chariot Frieze.-1036. Nearly a hundred fragments were found of this frieze, which evidently represented a chariot race. Out of the fragments about eleven chariot groups have been partly made up.

1037. (On the West wall.) Charioteer from the chariot frieze (where it is represented by a cast). Of the chariot a part of the wheel and part of the rim of the rail only have been preserved; in the centre of the nave a hole is drilled for a metal ornament. The charioteer's body is thrown forward, and his 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. 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. 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 XIII.), 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.]

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. 112), 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 restorations 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 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.