Next to these succeed several sculptures of which Hercules is the subject; a small statue on a bracket; a relief, in which he is represented capturing the Keryneian stag; and on the Eastern wall three heads of Hercules. One of these, which is of colossal size, is very similar to the head of the celebrated Farnese Hercules at Naples. On the South side of the room are a head of Venus; a relief representing three suppliants approaching Apollo, Diana, and Latona, with a dedicatory inscription; Cupid, or Somnus, from Tarsus: a head of the youthful Hercules; a life-size statue of Libera, or Ariadne, with a panther; a girl playing with astragali. On a bracket above is a torso of Venus stooping to adjust her sandal; and above this again is a relief representing two Satyrs, from Cumae. Next in order are, a youthful Bacchus; a group of Bacchus and Ambrosia, the latter being represented at the moment of transformation into a vine, from which a panther is snatching grapes. On each side of this group is a small statue of a Paniscus or young Pan; the support at the side of each of these figures is inscribed with the name of the sculptor, Marcus Cossutius Cerdo, a freedman. On the wall is a relief representing Ariadne (?), from Cumae. Further on are part of a group of two boys quarrelling over the game of astragali; a statue of Venus; statues of two Satyrs; the head of a Satyr from a statue; the head of a Bacchante; a terminal Satyric figure playing on the flageolet, and two figures of the goatlegged Pan. At the Western extremity of the room are a torso of Venus and a statue of Mercury, formerly in the Farnese Palace at Rome. The adjoining staircase leads to the GRECO-ROMAN BASEMENT ROOM, To which the Basement of the Lycian Room has been recently annexed. In this room are arranged figures and reliefs of the Græco-Roman period of inferior merit, miscellaneous objects in marble and other material, and the collection of tessellated pavements and mosaics which has been formed chiefly from the discoveries at Carthage in 1856-8, and at Halicarnassus in 1856. For an account of the former discoveries, see Archæologia, xxxviii., pp. 202–30. The tessellated pavements from Halicarnassus were taken from the rooms and passages of a Roman Villa. See Newton, Hist. of Discoveries at Halicarnassus, &c., II., pt. i. pp. 281-303. On the floor of the old rocm is placed the tessellated pavement of a room 40 ft. long and 12 ft. wide, in the Roman Villa at Halicarnassus. At its upper end this mosaic represents a marine divinity, probably Amphitrite, accompanied by a Triton. To the South wall of this room is attached a wreath with an inscription from the same villa. Attached to the East wall is a mosaic representing on a colossal scale, the head of a Marine Deity, who has been identified as Glaucus, but may be Neptune (engraved, Monumenti of the Roman Institute, v. pl. 38). This mosaic was found at Carthage, and was presented to the Museum in 1844 by Mr. Hudson Gurney. Against the same wall are two marble groups representing Victory sacrificing a bull, and a marble relief, from the Pourtalès Collection, representing two gladiators fighting with a bull. Along the sides of this room are placed sculptures in the round and in relief, marble candelabra, altars, vases, and other objects. Among the statues may be specially noted, the Nymph Cyrene struggling with a lion, found at Cyrene, and two small figures of fishermen, near which, on the party wall, is a mosaic from Carthage, representing a basket of fish. In the recess, in the middle of the party wall, are two curious reliefs from Amyclae, representating articles of toilet, dedicated, the one by a priestess, Claudia Ageta, the other by a lady named Anthusa. Against the wall of one of the entrances into the Annex is a relief representing the Nymph Cyrene crowned by Libya, with a metrical inscription. The Annex formed by the Lycian Basement contains mosaics, sculptures in the round and in relief, and a number of miscellaneous objects. The mosaics arranged on the South side of the Annex are chiefly from the Roman Villa at Halicarnassus. Among them may be noticed two pieces representing Meleager and Atalanta, severally inscribed with their names, and a third piece with the figure of Dionysos, with his name inscribed, attended by a panther. On the North side of the Annex is a piece of mosaic from Ephesus, representing a Triton of unusual form, accompanied by a dolphin with a trident in its mouth. On the same side, in bays near the windows, are arranged a number of mosaics from Carthage. Among them may be noticed three pieces from the angles of a pavement, each with a full length figure representing one of the Months. Two of them have, besides this figure, also a female bust, apparently each the personification of a Season, set in a circle in the corner. Among the other mosaics from Carthage are two scenes of hunting, one of fishing from a boat, and three slabs from a representation of a boar hunt. 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 LYCIAN ROOM. The collection in this room consists of architectural and sculptured remains obtained from ancient cities in Lycia, one of the South-west provinces of Asia Minor, which was inhabited by a mixed population consisting of two aboriginal races called Solymi and Termilæ, and of Greeks, who had colonized it at an early period. These monuments were removed from that country in two expeditions undertaken by Her Majesty's Government in the years 1842-1846, under the direction of Sir C. Fellows, by whom the greater part of the marbles in this Room were discovered. They consist of sculptured remains, ranging in date probably from the sixth century B.C. to the period of the Byzantine Empire. With them are exhibited plaster casts of some other sculptures, of which the removal was not found practicable, but of which facsimiles were thought needful as illustrations of the history of art, and materials for the study of a language apparently peculiar to Lycia. The sculptures are all from the city of Xanthos, except when otherwise specified. The following are the most remarkable : : No. 1. Reliefs from the Harpy tomb, which stood on the Acropolis. The sculptures, as will be seen by the model adjoining, originally decorated the four sides of a rectangular solid shaft, about seventeen feet high, which was surmounted by a small chamber, of which the door is visible on the West side of the monument. The style indicates a date probably not later than B.c. 500. The subjects of the bas-reliefs are variously interpreted; on the North and South sides are Harpies bearing off the daughters of Pandareos; beside these are seated figures, probably deities; and other personages from the Greek mythology complete the adjoining scenes. Nos. 2-8. A frieze of Satyr and wild animals. Nos. 9-16. A frieze representing cocks and hens. Nos. 17-21. Another frieze, of archaic style, with a procession of chariots, horsemen, &c. No. 23. The gable end of a tomb, on which are sculptured two figures beside an Ionic column, which is surmounted by a Harpy. Nos. 24-27. Similar portions of tombs with figures of Sphinxes in relief. These, and No. 23, are all of the same early style. Nos. 28-30. Three draped female torsoes of an architectural character. No. 31. Stone chest, from the top of a stelè, or columnar tomb. On one side is a man stabbing a lion, on another side a lion with a cub. No. 32. Square block, decorated with lions' heads, believed to have been originally placed on the summit. of the inscribed monument (No. 141). room. Nos. 34-140. These sculptures and architectural members formed part of the building, of which a restored model, with a ground-plan of the remains as they were found in situ, and with a picture of the scene of the discovery, is placed in this The model, made under the direction of Sir C. Fellows, and presented by him to the Museum, exhibits an Ionic peristyle building, with fourteen columns running round a solid cella, and statues in the intercolumniations, the whole elevated on a base, which stands upon two steps. This building has by some been considered a trophy in memory of the conquest of Lycia by the Persians under Harpagos, B.C. 545. Another conjecture is that the reliefs represent the suppression by the Persian satrap of Lycia of the revolt of the Cilicians against the Persians, B.C. 387. Nos. 34-49. Sculptures of the broader frieze supposed to have encircled the base; they represent contests between heavily armed Greek warriors, and more lightly equipped antagonists in Asiatic costume. Nos. 50-68. The narrow frieze which ran round the upper part of the base. On Nos. 50-53 is seen the attack upon a city, supposed to be Xanthos. Nos. 55-59 represent a general combat between Greeks; Nos. 60, 61, a walled city, besieged; No. 62 a Persian satrap, supposed to be Harpagos, receiving a deputation from the besieged city, with a slave holding an umbrella over his head; Nos. 65, 66, a sally from the town; No. 67, the retreat of the Lycians into the city. No. 69. Capping stones of the east front of the base. Nos. 70-74. Columns and portions of columns from the peristyle. Nos. 75-84. Statues which were placed in the intercolumniations: they represent female figures, which, from the marine emblems at their feet, are probably Nereids. Nos. 95-105. Narrow frieze which surrounded the cella: the subject is an entertainment, with a sacrifice of rams, bulls, and goats. Nos. 106-109. Coffers of the ceiling, from the Eastern front. terior of the building; it represents dresses, horses, &c., brought to a satrap; the chase of the bear, and of the wild boar; and a battle of horsemen and foot-soldiers. No. 125. Eastern pediment with various figures, probably divinities. No. 126. Half of the Western pediment-six warriors fighting. No. 132. Draped figure of a female in rapid motion, from the South acroterium of the pediment; like those previously described, Nos. 75-84. No. 135. Similar figure from the North acroterium. Nos. 139, 140. Two crouching lions, found at the base of the monument, and conjecturally placed, in the model, within the colonnade. No. 141. Cast of a portion of the square stele, called the Inscribed Monument; it is covered with an inscription in the Lycian language, in which there is mention of the son of Harpagos, and of several Lycian towns and states; on the North side is a Greek inscription, commencing with a line of the poet Simonides, who flourished B.C. 556, and recording the exploits of the son of Harpagos, in whose honour this monument was erected in the market-place of the twelve gods. No. 142. Tomb of a satrap of Lycia named Paiafa, with a roof in the form of a pointed arch, surmounted by a ridge. On each side of the roof is an armed figure, perhaps Glaukos or Sarpedon, in a chariot of four horses, and along the ridge a combat of warriors on horseback, and a Lycian inscription; in the Western gable is a small door for introducing the body of the person interred in this tomb. The reliefs on the sides of the lower portion represent warriors in combat, the satrap Paiafa seated, and other figures of men, or gods, with inscriptions. On the roof is the name of Itimse, who made that part of the tomb. No. 143. Roof of a tomb, similar to No. 142, apparently of a person named Merewe; on the ridge are various subjects in bas-relief, and on each side below is Bellerophon in a chariot, attacking the Chimæra. Nos. 145-149. Casts from a tomb excavated in the solid rock at Pinara. On the two lowest are interesting representations of an ancient walled city. Nos. 150-152. Casts from the bas-reliefs of a rock-tomb at Cadyanda; bilingual inscriptions in the Greek and Lycian languages accompany several of the figures. Nos. 153-156. Casts of inscriptions in Greek, Lycian, or both languages, from different localities in Lycia. No. 156. Fragment of a Lycian inscription. No. 157. Casts from a pedestal decorated with bas-reliefs. No. 158. Cast; Bellerophon attacking the Chimæra. No. 159. Bilingual inscription in Greek and Lycian in honour of Pizodaros, Prince of Caria, B.c. 340. Nos. 160, 161. Casts from the gable ends of two tombs. No. 165. Inscription from Xanthos, dated in the 9th year of Ptolemy Philadelphus, king of Egypt. No. 166. Casts of the sculptures of a rock tomb at Myra, coloured to represent its present condition. G |