monuments so peculiar to Xanthus, and of which four are still standing. On the stele, as seen over the walls, is placed an emblem, a sphinx seated between two lions. It is an interesting coincidence that at the foot of one of these stela, No. 141A, Sir C. Fellows found a square block, No. 33, terminating in the fore parts of two lions: the tenon under it, corresponding with the mortise upon the capstone of the stele, proved that it had fallen from this monument. The walls of the city seem to surround a rock. One of the most interesting individual groups is that of a wounded warrior who is led away by a young man; several figures are seen pointing with the hand, as if giving commands, and the combatants are turned and engaged in different directions, and not advancing in order, as upon the other sides. One figure is carrying a stool, or throne, and another an umbrella inclined over his shoulder.

Upon this square base, which the friezes we have just described surround and decorate, stood the building itself; according to Sir Charles Fellows's restoration a peripteral tetrastyle temple, containing, as decorations peculiar to itself, statues as acroteria on the angles of the roof, figures in the pediments, bas reliefs round the outside of the cella and architraves, and statues in the intercolumniations. The fragments on the acroteria were placed, like those in the intercolumniations, longitudinally, and have been too much mutilated to admit of any satisfactory assignment. On the eastern pediment, No. 125, we have a male and female deity seated opposite to each other, with attendants standing by them, and in the angle a dog crouching down. Of the western pediment, No. 126, only one half remains, containing a representation of six warriors on foot, one of whom has fallen, sustaining the charge of horsemen; the fore-leg of the horse may be noticed crossing the shield of the foremost figure. On the sculptured architrave, Nos. 100-123, are represented, at one end, a procession carrying the offerings usually made by the Greeks, and at the other a procession, clad in the looser dress of the Persians, and carrying the offering peculiar to that nation. On one of the long sides we have a hunting-scene, the pursuit of the wild boar and bear; on the other, a battle between two bodies of horsemen. The frieze round the cella has for its subject an entertainment, in which the guests recline upon couches, and are served with wine and attended by female singers, and musicians. Preparations are also being made for a sacrifice of rams, bulls, and goats.

The statues Nos. 75-84, which Sir Charles Fellows has placed in the intercolumniations of his restoration, are among the most interesting remains of this monument. They all represent Nereids

in rapid motions. Each statue is supported by some marine emblem under her feet. The acroterial statues are too much injured for even their emblems to be made out.

It is difficult to determine the date at which this monument was erected, but it is certain that it cannot be earlier than the conquest of Xanthus by Harpagus, B.C. 545; it has been supposed that the building was erected either in B.C. 476, or between B.C. 450-395, or as late as B.C. 387, the sculptures in the latter case commemorating the suppression by the Persian Satrap of Lycia, of a revolt of the Cilicians against his government. While we do not incline to attribute these sculptures to so early a period as B.C. 476; and while we see nothing in them that can be reasonably called Archaic, we do not imagine that they refer to so trifling an event as the suppression of the Cilician rebellion. In the absence of any direct proof, we should place the execution of these Sculptures at about B.C. 400.

Having now mentioned the principal sculptures belonging to this building, we will add, for the sake of unity of arrangement, the numbers of the separate fragments appertaining to it, which are, with a few exceptions, all architectural.

Nos. 85-91 are fragments of the intercolumniated figures.

Nos. 132, 135 are draped females, similar to those in the intercolumniations from the South and North acroteria of the pediment. Nos. 133, 134 are youths bearing females, placed conjecturally at the apex of each pediment. Nos. 136-137 are fragments of two figures in rapid motion from the North and South ends of the west pediment. No. 131-a-f are six lions' heads, which once decorated the sides of the roof. Nos. 139, 140 are two crouching lions, found at the base of the monument, and placed conjecturally in the intercolumniations of the model. No. 140* are the fore and hind foot of a similar lion. No. 69 contains the capping-stones of the East front of the base, which was decorated with a double band of egg-and-tongue moulding with an antefixal ornament sculptured at the corners. Nos. 70-74 are columns and portions of columns from the peristyle of the building. Nos. 92-94 are capitals of the two pilasters of the East front of the building with leaves and fleurons. Nos. 106-109 are six of the lacunaria or coffers of the ceiling, which are supposed to have come from the Eastern front. No. 124 is the moulding of the North corner of the Eastern pediment. Nos. 127-130, upper corner stones of the Eastern pediment; No. 127 being the key-stone, and demonstrating the manner in which they were fastened into the roof.

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.

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 TOMB, No. 1.

It consists of a square stele or column, about 17 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;