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We may add, in concluding this notice of the Ionic Trophy Monument, that Sir Charles Fellows has shown, we think very clearly, that the marble of which it is composed is Greek (probably Parian), and not Lycian; and that the character of its art is also foreign to the country. The massive pedestal surmounted by a temple-form structure belongs to Caria, and examples of it may be seen at Alinda, and a very remarkable one at Mylassa, reminding us of the type of the Mausoleum at Halicarnassus. The architecture is that of Ionia.

II. MISCELLANEOUS RELIEFS.

Of these, the whole were found in and about the Acropolis, the greater part having served as materials for its walls. They are the most archaic of the monuments discovered by Sir Charles Fellows, and manifestly the relics of an older building, in ruins at the time when the Romans built the wall of circumvallation, if not pulled down by them for that purpose. They are chiefly distinguished by their being executed in the hard, untractable stone of the country. They bear considerable resemblance to the early Greek school, such as is found on the doors of the so-called Treasury of Atreus at Mycenæ, and on the vases intermediate between the NolanoEgyptian or Phoenician and the early Etruscan styles. Their subjects, Nos. 2-16, are, a lion devouring a deer, a frieze with fowls, spiritedly executed, and a satyr, nearly the size of life, running along the ground, and holding in both hands the branch of a tree. On comparing these with the remains on a Doric temple at Assos, the frieze of which is a succession of animals, and whose metopes contain centaurs, it is clear that the fragments above enumerated have formed part of the frieze of a similar temple.

Nos. 27-21 is a curious frieze, not impossibly from a tomb, and certainly ranks next, in point of art, to those last described. The slabs form a continuous frieze of five pieces, and, from the return piece at one end, most likely that of an inner and hypæethral

court.

The equestrian part of the procession commences with a chariot of two horses, in which is seated an old and bearded figure, draped in a tunic and peplos, while a youthful charioteer, standing up, leans over the chariot and holds the reins of the horses, which resemble those on the staircase at Persepolis. The chariot is followed by a horse, attended on its near-side by a groom, who holds the bridle and a short knotted whip. A second chariot follows, similar to the first,

and behind is a man on horseback, who is apparently descending a step.

With this frieze must be classed a slab containing a procession of draped figures, several of which remain more or less perfect, and are either Divinities of the highest order, advancing at the head of the previous procession, or priests and sacerdotal functionaries. This slab has been much injured by the weather. The Frieze has a Persian character, and reminds us of that described in the Cyropædeia.' The character of the dresses is, however, Lycian, and not Persian, and therefore probably represents the Satrap of Lycia, attended by the usual personages in a Perso-Grecian procession in honour of the local Divinities. None of these monuments are probably older than the Persian conquest in B.C. 545, while individual specimens may be much more modern, the difficulty of handling the hard Lycian stone, in which they are carved, of itself tending to give an archaic character to the workmanship.

No. 22 is a bas relief of two draped females wearing sandals, one of whom raises with her left hand the border of her tunic.

No. 141 B is a fragment of a bas relief representing two figures, one armed and advancing, the other fallen. It was found at the base of the inscribed stele at Xanthus; but it does not appear certain to what structure it belonged.

III. TOMBS.

Sir Charles Fellows has examined with great care the different Tombs, many hundred of which still exist in the S. W. part of Asia Minor, and has determined that they present three principal forms. These he calls the Obelisk, the Gothic, and the Elizabethan forms. The first, as its name implies, consists of a square block surmounted by a cap and cornice; the second and the third resemble those styles of Architecture in their lancet-headed tops, and in the deep, mullioned recesses carved on the structure. Of these the Museum possesses admirable specimens of the two first; the third, or socalled Elizabethan, appears to have been generally restricted to such carvings as were on the face of the solid rock. In each of these classes, but more especially in the Gothic and Elizabethan, the peculiarities of the architectural details are very curious. They indicate distinctly the imitation of wooden structure, and by the nature of the joints, ties, and mouldings (copied in the stone) give a perfect insight into the construction of the ancient buildings of Lycia. The panelled doors, with bossed nails on the styles, knockers suspended

from lions' mouths, and other ornaments in the panels, show much taste and accuracy of execution.

The most remarkable of these singular monuments is that which has been called, from the figures which appear at its four corners, the HARPY TOмв, No. 1.

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It consists of a square stele or column, about 173 feet high, in one piece of stone, surmounted by a series of bas reliefs. It stood on the N.E. side of the Acropolis, near the theatre, and was placed upon a square pedestal. The bas reliefs formed the walls of a square chamber, which measured 7 feet each way. In the interior of this chamber are representations of wood-work with its beams and sunken soffits; and an ancient door still exists on the W. side. The shaft has been shifted on its base by an earthquake, and two of the slabs have been thrown to the ground. The N. and S. sides each have respectively three slabs, and contain representations of the Harpies, between whom, in each case, is a group consisting of one seated and one standing figure, so that the sculptures on these two sides balance; on the E. and W. sides are also three slabs, but no Harpies. It is not impossible, therefore, that though the whole of the slabs may refer to local myths, the subjects on the N. and S. friezes may not be directly connected with those on the E. and W.

Many different opinions have been put forth as to the meaning of the bas reliefs upon this monument, but it is impossible to do justice to these different theories within the limited space allotted to us. Generally, it may be presumed that a local myth is represented;

and as Pandarus was one of the Lycian heroes, and as his daughters are said to have been carried off by Harpies, as a punishment for his having perjured himself, we may believe that some part of this legend is indicated upon the monument before us. The Harpies are generally described with the faces, bosoms, and hands of females, their hair bound round by the sphendoné, and their bodies and feet those of vultures. From the time of Homer they were considered to represent the storm winds (whence their names of Ocypete, Aello, Celano, and Thyella), and to have been placed in Hades along with the Eumenides, or Furies. They are here depicted winging their way rapidly through the air, and holding in their arms one of the unhappy daughters of Pandarus, dressed in the same Lycian attire which appears upon the other figures. Of the individual figures in the frieze, the older bearded and seated figure, with a helmet in his hand, is probably Zeus. On the opposite side, the seated man, with a female standing before him, holding a pigeon by its wings, probably represent Pluto and Persephone. The seated female to the left of the door appears certainly to be Hera. The corresponding seated female may be Aphrodite, and the three intermediate and standing females the Charites or Graces. The corresponding seated male figure may be Poseidon, and Amymone and Amphitrite standing behind his chair; but we confess we see no certainty in any of the mythological speculations about this portion of the frieze.

There can be no reasonable doubt, on the other hand, that this ⚫stele, whatever be the true interpretation of its bas reliefs, marked the site of the deposit of some of the Princes or Monarchs of the Royal family of Lycia, descended from the mythical hero Pandarus, the whole story having a relation to death, and that too premature. The monument was originally enriched with colour, portions of which were still observable when it was first brought to England: there was blue on the background, and scarlet on the crest of the warrior; the lower moulding had also a coloured pattern of the egg-and-tongue ornaments, and the chair of the figure on the northern side had a pattern of rosettes, and the helix or antefixal ornament. The style of the monument may be compared to the bas relief called that of Leucothea and Dionysus, in the Villa Albani, of which there is a cast in the Museum. The Harpy Tomb was never completely finished, the sides being polished only half way up from the base, and the projections whereby it was originally raised being left in their original state, and not, as was usually the case, carved into lions' heads.

The bas-reliefs of this tomb are among the most interesting examples of archaic Greek art which remain to us. They are probably about a century earlier than the Æginetan marbles. The friezes which we have already referred to from Assos are much inferior. Four other similar tombs have been discovered: one placed on a pedestal of three steps with sepulchral chambers excavated in the rock beneath it; another bearing a Lycian inscription; a smaller one, discovered by Mr. Forbes and the Rev. Mr. Daniell, at the foot of the Cragus; and another, smaller than those at Xanthus, with the remains of a Lycian inscription, found by Sir Charles Fellows, and seen by M. Schönbrunn to the north of Cadyanda. It is probable that these pillars were surmounted by some sculpture, from the discovery of the fragment with the two lions found at the base of that bearing the Lycian inscription, and the appearance of a sphinx and two lions on the monument represented in one of the besieged cities in the narrow frieze.

The next important tomb, to which we shall call attention, is No. 142-the sarcophagus of a Satrap whose name is said to be Paiafa, resembling a wooden coffin or roofed house, with beams issuing forth from the gables. This is one of the structures which Sir Charles Fellows has called Gothic. It may be remarked that the top of the sarcophagus is very peculiar in form, and resembles very much an inverted boat, with its curved sides and high ridge running along the top like a keel. At the end of the top of the ridge, above the arch, is a groove, which was probably intended to contain a terminal ornament. Sir Charles Fellows observed a rock at Pinara, on which a representation of a similar sarcophagus had been carved. In the groove at the top of the ridge is inserted an ornament, consisting of two bulls' horns, serving for its crest. These crests are of historical interest, Herodotus relating, in his account of the nations who served under Xerxes, that the people of Bithynia carried two Lycian spears and had helmets of brass, on the summits of which were the ears and horns of an ox. On each side of the roof is an armed figure, perhaps Glaucus or Sarpedon, in a chariot of four horses; and along the ridge, or hog's mane, is a combat of warriors on horseback, and a Lycian inscription recording (it is said) that the tomb was made for Paiafa. At the E. end, in the tympanum of the arched portion, are two naked figures and sphinxes; at the W. two sphinxes, and a small door for the purpose of introducing the corpse. On the N. side, below, is a combat of warriors, on foot and on horseback, and the Satrap, seated, attended by four figures; above him are the remains of two lines of Lycian inscription. The Oriental chief sits

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