114 gallery or antiquities. [phigaleian 
fly-flapper, and is followed on foot by an armed attendant with the mace : 
the yoke over the horses’ shoulders is surmounted by a kind of tablet, 
with a figure carved in relief, probably representing the ferouher , or 
attendant deity. In front of the royal group are two attendants; 
then a file of soldiers (58) variously armed, and advancing lo the spot 
where the spoil is collected (59). Here are seen captured spears and 
bows, couches, vases, goblets, &c. Below them is a pile of human 
heads, which two officers on the left (58) are registering, whilst on 
the right (59), a warrior is bringing in another with animated move¬ 
ments. Behind the latter a prisoner approaches, raising his hands for 
quarter, followed by six others in couples, attached together by the 
wrist, and bearing on their shoulders wine-skins; amongst these is a 
soldier conducting them. 
60. The last slab is from the long gallery marked xlix. in Mr. 
Layard’s plan. It represents a figure of uncertain meaning, whether 
a mythical personage, or simply a mime or harlequin. The form is 
human, but with a lion’s head, and feathers on the neck. He is un- 
draped above the waist, but wears over his shoulder a sword-belt. His 
right hand raises a dagger; the left, as well as the legs and feet, are 
lost. 
In the middle of the Room stands a circular bowl in limestone, 
much mutilated. Round the exterior is a frieze of small figures in 
relief, representing groups of men and lions in combat, probably forms 
of the Assyrian Hercules. 
At the North-end of the Room, on the floor, is a fragment from a 
pavernent slab, with flowers, and an ornamental fringe, sculptured in 
relief. 
PHIGALEIAN SALOON. 
In the middle of the Room is placed : — 
No 2*. A statue of Apollp. of very early Greek w*ork. Purchased 
in 1818, at the sale of the Comte de Choiseul-Gouffier’s Antiquities. 
Around the sides of the Room are temporarily deposited the follow¬ 
ing sculptures:— 
On the floor, eleven bas-reliefs, formerly part of the celebrated mau¬ 
soleum at Halicarnassus, a tomb erected in honour of Mausolus, King of 
Caria, by his wife Artemisia, in the 4th year of the 106th Olympiad, 
B.c. 353. This monument, one of the seven wonders of the world, was 
built by the architects Phiteus and Satvrus, and adorned with sculptures 
by five sculptors, viz.: Pythis, who made a quadriga for the top; 
Scopas, or Praxiteles, wTio sculptured the eastern; Bryaxis, the 
northern ; Timotheus, the southern ; and Leochares, the western side; 
all artists of the later Athenian school. The subject of the frieze is 
the battle of the Greeks and Amazons, and Hercules appears among 
the combatants. The style of at least tw f o artists can be traced in these 
sculptures ; and apparently more sculptures from different paHs of the 
building have been preserved. In a.d. 1522, these sculptures were 
discovered amidst a heap of ruins, and employed by the Knights of 
Rhodes in the construction of the castle of St. Peter at Halicarnassus, the 
present fortress at Boudroum, in the walls of which they remained en- 
