the centre to the angles, which made the increased width of the central intercolumniation quite unobjectionable. All the ordinary columns of the peristyle were fluted with elliptical flutings, eight and one-fourth inches wide near the base; these were separated by fillets very little more than one inch wide. The outer columns had twenty-four flutings, the inner columns twenty-eight. Vitruvius describes the inner columns of the peristyles of temples as having thirty flutings.

The cella was nearly seventy feet wide, and I have supposed the Temple to have been hypæthral or partly open to the sky. A double tier of columns must have been employed in the cella, but the only fragment found which might have belonged to the interior is part of a Corinthian capital, elliptical on plan. What the hypethron of the Greeks really was has not yet been determined. There are many reasons for believing that it was a large space in the cella which was open to the sky like the central court of the Royal Exchange of London. The literal meaning "under the sky" seems to admit of this arrangement only. The pavements of Greek temples were sunk in the centre, which appears to prove that the rain was allowed to fall there, and by this contrivance the remainder of the cella was kept dry.

Mr. Fergusson has supposed that the statue of the god or goddess could not have been exposed to the rain or snow, but that the whole of the Temple was roofed over, and that the cella was lighted from above, not by an aper

ture in the roof, but by a clerestory, which he obtains by countersinking the roof on both sides. The question is whether such an arrangement would answer to the term hypæethral? The statue may have been protected from the weather by a species of canopy or baldacchino. In the rear of the altar must have stood the statue of the goddess. The foundations discovered are large enough for both the altar and the statue. The statue of the goddess which was said to have fallen from Jupiter was probably similar in character to the traditionary many-breasted goddess represented in old engravings and the well-known statue of the Asiatic goddess in the Museo-Reale at Naples.

The works of Pheidias and Praxiteles, with which the altar was said to abound, I have supposed to have been placed in a deep recess behind the altar and statue. Here pedestals for statues and groups of sculpture might have stood, and numbers of bas-reliefs might have been placed on the walls between the antæ of the recess.

To return to the exterior of the Temple, the fragments of sculptural frieze found in the excavations prove that the whole of the frieze was sculptured with familiar mythological subjects in which Diana, Hercules, Theseus, Amazons and others figured.

A large fragment of sculpture representing the winged figure of a man leading a ram was found at the west end of the excavations. This massive block of marble formed a corner-stone, and was probably part of an altar which might have stood on the platform outside the Temple.

The cymatium was beautifully decorated with the conventional Greek honeysuckle ornament intercepted by boldly and well-executed lions' heads which measured nearly two feet across the forehead. Above the cymatium were antifixia of white marble.

Fragments of the architrave which were found together with those of the frieze and cornice have enabled me to complete the whole of the entablature, a small portion of the cornice only having been left to conjecture.

The roof was covered with large white marble tiles, of which many fragments were found, as well as of the circular cover tiles. Unfortunately the size of the flat tiles can be determined only approximately by the probable distance apart of the lions' heads in the cymatium. If I am correct in this, the tiles were about four feet wide; the circular elliptical tiles covering the joints were ten and one-half inches wide.

Such then was the building which ranked as one of the Seven Wonders of the ancient world, the beauty of which attracted such multitudes to Ephesus, and which is alluded to in Acts xix. St. Paul, during his three years' sojourn in Ephesus, doubtless often gazed upon it with admiration, at the same time that he deplored its consecration to the worship of a heathen goddess.

F

THE MAUSOLEUM OF ARTEMESIA

C. T. NEWTON

ROM time to time, from the Seventeenth Century on

ward, travellers who visited Budrum had remarked in the Castle of St. Peter there a number of pieces of frieze in high relief and of the best period of Greek sculpture. This castle was built by the Knights of St. John of Jerusalem in the Fifteenth Century, as one of the line of fortresses by which they guarded the coast between Rhodes and Smyrna.

The Knights of St. John took possession of Budrum in 1402 and at once commenced building the Castle of St. Peter. The original fortress was from time to time extended and repaired during the course of the Fifteenth Century, and was not finally completed till 1522, when Sultan Solyman laid siege to Rhodes. We know from contemporary and subsequent historians that the principal materials used by the Knights in the construction of the Castle at Budrum were the ruins of the celebrated tomb of Mausolos, which ranked among the Seven Wonders of the ancient world, and of which the name is still employed to designate sumptuous sepulchral monuments.

Mausolos, sometimes styled prince, or dynast, of Caria by Greek writers, but in reality a Satrap under the King of