LYCIAN SALOON. 137 
native of Thasos, seated and bidding adieu to her husband; a child 
looks towards her. 
No. 440. Tablet inscribed with the name of Timon, a native of 
Sinope. 
No. 441. Tablet of Smichvlion, son of Eualcides, one of the corpo¬ 
ration of potters. From Athens. Presented by A. Robinson , Esq R N. 
No. 442. Bas-relief representing a shield, on which are inscribed 
the names of the ephebi of Athens, under Alcamenes, when he h<4d the 
office of cosmetes . Removed from a church at Athens by Dr. Antony 
Askew, and said to have formerly belonged to the Parthenon. 
The Elgin Saloon is united with the Lycian by a room recently 
built, which will be used for the extension of the Greek collection. 
LYCIAN SALOON. 
The Sculptures in this Room consist of the remains of ancient cities 
in Lycia, one of the south-west provinces of Asia Minor, inhabited by 
a mixed population of an aboriginal race called Solymi and Termilse, 
and by the Greeks, who had colonised it at an early period before the 
epoch of the Trojan war. These monuments were removed from 
that, country by two expeditions undertaken by Her Majesty’s Govern¬ 
ment in the years 1842—1846, under the directions of Sir C. Fellows, 
by whom the greater part of them were discovered. They consist of 
sculptured remains, ranging in date from the subjugation of the country 
by the Persians, B.c. 545, to the period of the Byzantine Empire. 
With them are exhibited some plaster casts of certain other sculptures, 
of which the removal w 7 as not found practicable, but of which facsimiles 
were necessary as illustrations of the history of art, and as documents 
for the study of a language and written character found in Lycia, and 
apparently peculiar to that part of Asia Minor. These objects are all 
from the city of Xanthus, except w T hen otherwise specified. 
No. 1. Bas-reliefs from the Harpy tomb, which stood on the 
Acropolis, close to the Theatre. The sculptures, as will be seen by 
the model placed near it, decorated the four sides of a rectangular 
solid shaft, about seventeen feet high, weighing eighty tons, and 
supported a roof with a moulding, inclosing a chamber seven feet 
six inches square, entered by a small low door on the w r est side. 
This monument was never finished, the projection for raising the shaft 
still remaining, and the shaft having been polished only half way up. 
Its base was shaken, probably, by one of those earthquakes by which 
the country is known to have been visited, and two of the slabs on the 
western side were found throwm on the ground. Various conjectural 
explanations of the sculptures have been proposed. The scene on the 
west side [5] has been supposed to represent Hera or Juno seated, and 
holding a cup before the sacred cow of Io and Epaphus, Aphrodite, and 
the three Charites or Graces ; others consider that the tw’o seated 
figures represent Demeter (Ceres), and Kora (Proserpine), and 
the group between them the Three Horae or Seasons, or the 
Erinnyes or Furies. Three different explanations have been pro¬ 
posed for the scene on the east side [a]. 1. Tantalus bringing to 
Pandarus in Lycia the golden dog stolen from Crete. 2. Asclepios 
