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ing at ball, and a horseman. No. 170 is the base of another sarcophagus, with the lower part of the figures of a hunt. No. 171 is a fragment of another sarcophagus, with the lower portions of figures within a vestibule of twisted columns.

We take next

IV. INSCRIPTIONS.

Premising that the majority of the Lycian inscriptions which have been discovered are attached to monuments, such as those we have already noticed, as, for instance, to the sarcophagi of Paiafa and Merewe, and to the tombs at Cadyanda and Myra, we shall only notice here those which are on separate stones and blocks.

The first and by far the most important of these is No. 141A, commonly called the INSCRIBED Monument at XaNTHUS. This is a square stele, or pillar, covered on the four sides with a long inscription in the language of the ancient Lycians, and containing a mention of Harpagus, and of several Lycian towns and states.

On the N. side, between lines of Lycian characters, is a Greek inscription in twelve hexameter lines, which, commencing with the first line of one of the epigrams of the poet Simonides, who flourished B.C. 556, records the warlike exploits of the son of Harpagus, and that this column was erected in consequence, in the Agora at Xanthus. The whole inscription on the monument consists of above 250 lines. It was unfortunately discovered in an imperfect state; the earthquake which levelled the other monuments at Xanthus, having split off the upper part, which lies at its foot. Sir Charles Fellows, who has devoted much time to the obtaining from it perfect copies of the inscription, by copying and re-copying it during his different visits to the ruins, and by taking impressions of it in wet paper, states that at the top of the original monument are the marks of mortise joints, indicating that it has once had a cap or top to it, of which heavy pieces of stone, found lying near it, are probably portions. Sir Charles Fellows noticed also this curious fact, that the characters cut upon the upper portion are larger and wider apart than those on the lower, thus counteracting the effect of diminution by distance, as seen from the ground. Since the discovery of this monument, many attempts have been made to decipher the Lycian language, the most complete by Mr. Daniel Sharpe. Though, however, this gentleman has made a praiseworthy commencement, we think that still a great deal remains to be done towards obtaining anything like a satisfactory interpretation of this and other Lycian inscriptions We are indeed inclined to suspect that the use of Greek letters,

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intermixed with other characters purely Lycian, has been one great barrier to the success of the students of those interesting inscriptions; and that in more than one instance the orthography of names had not been settled determinately at the period when these inscriptions were engraven.

No. 153 is a cast of an inscription, with the name of Hector, over a fighting warrior from Cadyanda. No. 154 is a cast of an inscription in Lycian characters, from a sarcophagus at Antiphellus.

No. 155 is a cast of a bilingual inscription, from Larisse, near Telmessus: it records that Apollonides, and Laparas, the son of Apollonides, have made the tomb for themselves and their family. No. 156 is a cast of a bilingual inscription, from a tomb at Antiphellus, in the Lycian and Greek languages, recording that Iktasla, a native of Antiphellus, had made the monument for himself and his family. No. 156* is a fragment of a Lycian inscription, from a tomb at Xanthus, apparently part of a sepulchral formula, threatening a fine upon any one who shall violate the monument. No. 159 is a bilingual inscription in honour of Pixodarus, King of Caria B.C. 340. It was found at Xanthus, near the sarcophagus of the Satrap Paiafa (No. 142).

No. 165 is an inscription containing a portion of a decree of the city of Xanthus, dated in the month Lous, in the ninth year of Ptolemy Philadelphus. No. 176 is an inscription recording that Aurelius Jason, son of Alaimis and Chrysion, daughter of Eleutheros, have purchased a tomb for themselves, in the 13th of the month Artemisios, during the priesthood of Callistratus. It was found at Uslann, near the mouth of the Xanthus, and was presented to the Museum by Lieut. Harvey, R. N.

V. MISCELLANEOUS FRAGMENTS OF SCULPture.

No. 140** is a fragment of sculpture from an angle of a building, containing a crouching warrior and bull, and found between the Harpy tomb and the Acropolis. No. 167 two sandaled feet, parts of statues from Xanthus. No. 172 two metopes, with the head of Artemis, full face, and triglyphs from the Roman arch at Xanthus, erected in the time of Vespasian.

No. 173 is a monument found in a Roman bath at Xanthus; on one side of which are Plutus and Tyche, standing full face; on the other is a Persian shooting arrows into a cave, in which are an ox, a stork, a boar, a lizard, a grasshopper, and a fox. No. 174 is the torso of a male warrior.

VI.-ARCHITECTURAL FRAGMENTS.

No. 144 part of a cornice from the entrance of a rock tomb, at Xanthus, representing blocks of wood. No. 162 a fragment from the corner of a building, with return of egg moulding, from Xanthus. Nos. 163, 164 fragments of similar mouldings from a tomb; and Nos. 177-183 fragments of Byzantine architecture, which probably decorated a church. They were found amid the remains of a Christian village under the Ionic Trophy Monument (Nos. 34-140), and were probably buried by the same earthquake which overthrew that

structure.

Besides the monuments above described in detail, are a number of small objects found at Xanthus, in excavations under the same monument; and at Pinara. These are now placed together under two glass-cases. It is unnecessary to mention them separately.

TOWNELEY SCULPTURES.

TOWNELEY AND MISCELLANEOUS SCULPTURES.

THE collection of sculptures which we are now about to describe consists chiefly of those procured by Charles Towneley, Esq., between the year 1765 and his death in 1805, together with some other monuments obtained since that period from other sources. The finest statues in the Towneley Collection are probably either the original works of Greek artists during the early times of the Roman empire, or copies of works by celebrated early Greek masters. We have no means of proving that this or any other English collection, with the exception of the sculptures in the Elgin and Phigaleian rooms, contains any specimens of the best period of Greek sculpture, as was formerly supposed. The collections in the Elgin and Phigaleian rooms are those alone on whose date we can rely with undoubting certainty.

We propose, in describing these monuments, to pursue the same course we have already taken in the case of the Elgin marblesthat is to throw them first into certain groups, and to arrange them under general heads of similar or kindred subjects, so that the spectator who is willing to employ his mind as well as his eyes, may learn something more than he can from the perusal of dry catalogues, or lists, in which no scientific arrangement has been attempted.

The general heads we propose to make use of are the following:

I. STATUES AND BAS-RELIEFS, EITHER EXECUTED BY GREEK
SCULPTORS, OR PRESUMED TO BE COPIES OF CELEBRATED
GREEK ORIGINALS.

II. BUSTS OF MYTHOLOGICAL PERSONAGES.

III. PORTRAIT BUSTS OF GREEK PERSONAGES.

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