The Twenty-Second represents two different scenes.

That to the

right is a single combat between a Greek and an Amazon. That to the left is a scene ofa Greek dragging away another Amazon, behind whom is a square-shaped object, possibly an altar to which she had fled for refuge.

The Twenty-third, and last slab of the series, represents on the right an Amazon supporting a dying friend, and on the left another, who is apparently interceding with one of her comrades for a Greek who has fallen wounded on the ground.

Besides the Sculptures of the Frieze which we have just described, there are some other fragments from the same Temple, which are preserved in the Phigaleian Room: of these the three most important, Nos. 28, 29, 30, are portions of the Metopes from the portico of the Pronaos, which was originally enriched with Triglyphs. The subjects they represent have not been ascertained. There are also in this room some of the architectural details of the same Temple; of these, No. 1 is the ornamental termination of one of the tiles which covered the joints of the greater tiles along the flanks of the Temple. No.2 is a continuation of the same covering tile, with its ornamental termination on the ridge. No. 3 is one of the volutes of the Ionic semicolumns of the Cella. One of the eyes of the volute is lost, and the other is loose; they were both originally secured in their sockets by leaden plugs. No. 4 is a portion of a Doric capital, belonging to the exterior peristyle.

The following details observable in the execution of these sculptures are worthy of note:-1. The weapons of the Centaurs are generally stones, or branches of trees: thus, in Nos. 6 and 8, they are evidently hurling heavy masses, probably rocks; while in No. 5, the fragment in the hand of one of the Centaurs is either a club or the branch of a tree. In other ancient works of art, they are frequently represented with bows and arrows;-the Sagittarius, in the signs of the Zodiac, was thus depicted. On one or two of the Metopes in the Elgin collection, the wine-jars of the feast are their instruments of attack. 2. Their dress is the lion's skin, which either hangs loosely behind them or floats in the air; or, when used as a shield, covers the left arm, as in No. 6.

On the other hand, the weapons of the Lapithæ are short swords, as in No. 2; their defensive armour the shield, the helmet, the cuirass, or the chiton, which descends to the knees, and protects the thighs : their only drapery consisting of a cloak fastened round the neck by a fibula or button, and frequently altogether thrown aside. In many cases it will be observed that the combatants have changed arms, the Centaurs having the shields, and the Lapithæ using the stones of their opponents.

In the contest between the Greeks and Amazons, the Amazons are represented with a great diversity in the forms and treatment of their drapery. Sometimes they appear in long tunics, reaching to the ground, sometimes in a short vest, which barely covers the knees; on one slab (No. 18) an equestrian Amazon has her arms

I Manil. Astron. i. 269.

covered with long sleeves, and her lower limbs clothed in a sort of trowsers. Their heads are either undefended, or covered by a close-fitting helmet. Their legs are protected by boots, which reach nearly to the knees; their robes confined by a zone, with one or two belts passing over their shoulders and crossing in front between their breasts. The marbles do not preserve the weapons with which they fought, but the use of the sword is indicated by a scabbard, which is attached to one of the figures (in No. 23). Many of them carried the Pelta, or Amazonian buckler-an oval shield, with a semi-circular portion cut out at the top.

The weapons of the Greeks appear to have been swords; and in the instance of the figure which has been called Theseus, the club, with the lion's skin as a shield. They are sometimes represented with helmets and shields, and sometimes without. Their dress is generally a short cloak or robe, which, covering the left shoulder, leaves the right bare it is fastened round the waist by a belt, and reaches no lower than the knee.

The style of the bas-reliefs representing these two subjects is by no means uniform; and though many of the compositions are excellent, the just proportions of the human body have not been always preserved. They are inferior to the Frieze of the Parthenon in execution and finish, and were probably sculptured by common provincial workmen from the designs of Ictinus.

4. Bas-reliefs from the Mausoleum at Halicarnassus (Budrún). The Sculptures from Budrún, the presumed site of the ancient Halicarnassus, are arranged round the sides of the Phigaleian Room, under the marbles which we have just described. They are believed to have been part of the celebrated Mausoleum at that place, and were found inserted in the walls of the citadel at the entrance of the harbour, having been used as building materials by the Knights of Rhodes, either when they constructed that fortress in A.D. 1400, or in the beginning of the sixteenth century, when they repaired it.

The existence of these marbles has been long known. Thevenot, in the middle of the sixteenth century, notices them as "bas-reliefs fort bien taillés." They were drawn by Dalton, and published in his "Views in Greece and Egypt, 1751-81." They have been described by Choiseul Gouffier, Mr. Moritt, M. Prokesch von Osten, and Mr. W. J. Hamilton; and a sketch of the slabs inserted in the interior walls of the fortress is given in the 2nd vol. of the "Ionian Antiquities," published by the Dilettanti Society.

At length, after a strong wish had been expressed that these Sculp