No. 172. Two mètopes, with the head of Diana, from the Roman arch at Xanthos.

No. 173. Roman square monument; on one side are Plutus and Fortune; on the other is a Persian shooting at various animals.

No. 175. Part of the interior frieze of a tomb at Antiphellus, probably representing nymphs.

No. 176. Greek inscription of the Roman Imperial times.

No. 176. Cippus, in shape of a cinerary urn.

In this room are provisionally placed ten seated figures, a lion and a Sphinx, brought from the sacred way leading up to the temple of Apollo at Branchide in 1858, and two female heads found at Branchidae, in 1872 and 1874. (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 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 Miletos. One of the seated figures 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 statue is part of the name of the sculptor who made it.

The door on the North side of the Lycian Gallery opens into a Small ANTE-ROOM, in which are on one side a seated figure of Demeter, two pigs dedicated to Persephone, and several heads and other sculptures, all of which were found in the temenos of the Infernal Deities at Cnidus. (See Newton, Hist. of Discoveries, &c., II., Part 2, p. 375.) In the opposite recess are an Iconic female figure, from the temenos of Demeter, Cnidus; a head of which the eyes formerly contained enamel; and a torso, perhaps of the nymph Cyrene, found at Cyrene. (See Smith and Porcher, Discoveries, &c., pp. 91-8.)

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 by Mr. Newton 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, 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 herüon, 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. 6. Torso of a male figure clad in a chiton.

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.

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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.

The frieze of the order and the fragments of the other friezes are provisionally placed against the West wall of the room, the lions against the opposite wall. The figures of Mausolos and the goddess, and the fragments of the colossal horses, are on the West side of the room, the equestrian group and the other torsoes and heads on the opposite side. In this room are also placed a head of Asklepios found at Melos, from the Blacas Collection; a head of Alexander the Great, from Alexandria; a cast from the metope of a

Doric temple, found at Ilium Novum, 1872, and presented by the discoverer, Dr. Schliemann; subject, the sun god (Helios) in his chariot; an inscribed stelè from Rhodes presented by his Royal Highness the Prince of Wales; also the following marbles discovered by Mr. Pullan in the Temple of Athene Polias at Priene: (1.) the dedication of the Temple of Athene by Alexander the Great, inscribed on a stone from one of the antae; (2, 3.) a colossal arm and hand, probably from the statue of Athene in the Temple; (4) a colossal foot; (5.) a colossal female head, closely resembling that from the Mausoleum, No. 7 supra; (6.) a male Iconic head, perhaps of a king of the Macedonian period; (7.) a draped female torso; (8.) an Ionic capital; (9.) a capital from one of the antae; (10.) fragments of the cornice.

These marbles, together with an interesting collection of inscriptions, fragments of frieze, and architectural fragments from the same site, were presented to the Museum by the Society of Dilettanti in 1870.

ELGIN ROOM.

This room contains the sculptures from the Parthenon, a portion of the frieze of the temple of the Wingless Victory at Athens, some architectural remains from the Erechtheum, a statue of Dionysos from the Choragic monument of Thrasyllos, together with a number of fragments and casts, all from Athens. The sculptures from the Parthenon, and nearly all the marbles in this room, were obtained by the Earl of Elgin, when Ambassador at Constantinople, in the years 1801-3, by virtue of a firman from the Sublime l'orte. The Elgin Collection, which includes some additional marbles acquired after 1803, was purchased from Lord Elgin by the Government in 1816, for £35,000.

The sculptures from the Parthenon consist of the remains of the pedimental compositions, the metopes and the frieze.

The Parthenon, or temple of the virgin goddess, Athene, was constructed by Iktinos about B.C. 440, under the administration of Pericles. It stood on the Acropolis of Athens, on the site formerly occupied by the more ancient temple of Athene, called Hecatom pedon, which was burnt on

The Par

the sacking of Athens by the Persians, B.C. 480. thenon, like the earlier temple, was of the Doric order of architecture, and was of the form termed peripteral octastyle. The sculptural decorations were executed under the superintendence of Phidias.

The cella within the colonnade contained the colossal statue of Athene, executed in gold and ivory, one of the most celebrated works of Phidias. Externally, the cella was ornamented by a frieze in very low relief. The two pediments were filled with figures sculptured in the round, and above the architrave the spaces between the triglyphs were decorated with groups sculptured in high relief. All these sculptured decorations were executed, like the architecture, in Pentelic marble. The relative position of these sculptures is shown in the model of the Parthenon representing the temple as it appeared A.D. 1687, immédiately after the bombardment of Athens by the Venetian General, Morosini, when the explosion of a powder magazine shattered the middle part of the edifice. This model, executed by Mr. R. C. Lucas, sculptor, stands in the South-West angle of the room.

The group on the West side of this room belonged to the Eastern pediment of the temple, and represented, when perfect, the birth of Athene from the head of Zeus. The central figures, by which the action of the scene was expressed, have perished. Their place is here indicated by the opening in the middle of the group, which must be understood as representing a space of between thirty and forty feet. Of the figures which remain, the following are the designations most generally received, though subject to much difference of opinion:

At the South end of the pediment, the upper part of the figure of Helios, or the Sun, rising from the sea, as at the approach of day; heads of two horses from the chariot of Helios; a male figure, reclining on a rock, covered with a lion's skin, popularly called Theseus, though there is no good ground for such an attribution; two goddesses, probably Demeter and Persephone, sitting on low seats; a female figure in rapid motion, supposed to be Iris, sent to announce on earth the intelligence of the birth of the goddess.

At the North end of the pediment, torso of Victory; group of one recumbent and two seated females, called the three Fates; head of a horse from the chariot either of Night, or of the Moon, descending beneath the horizon.

On the opposite side of the room are the remains of the Western pediment, in which was represented the contest of Athene with Poseidon for the soil of Attica. Though this group is now in a