y raised, in 476 B.C., to celebrate the
subjugation of Lycia by the Persians; and that which describes the
subject of the decorative sculptures as that of the suppression of the
revolt of the Cilicians by the Persian Satrap of Lycia. The remains of
this mysterious building are ranged in groups about the room; and the
visitor will observe indications of the flow of the lines, and the
artistic grace, which subsequently marked Grecian sculpture from every
other on the face of the earth. Here it is not impossible to recognise
the Greek mind: far below that of the decoration of the Parthenon, it
is true; but yet elegant and thoughtful. The groups of sculpture
marked (34-49) are the sculptures of the broader frieze which, it is
conjectured, surrounded the base of the building. Here are represented
a series of warlike encounters in which the Greek arms are
prominent--their helmets, crests, and Argolic bucklers; while other
soldiers are represented nearly nude, and in some instances wearing
the Asiatic pointed cap. This frieze undoubtedly represents the Greeks
at war with Asiatic tribes. The fragments of the narrow frieze which
bordered the upper part of the frieze are marked from 50 to 68. The
first four fragments represent the attack of a town, supposed to be
the Lycian town Xanthus. Here the besiegers may be observed scaling
the wall, and the officers cheering on the men. The five following
fragments represent various scenes of warfare between Greeks and
Asiatics. Then a walled city is represented, with the heads of a
besieged party looking over the ramparts; then a figure of a Satrap
occurs (62), supposed to be that of the Persian conqueror of Lycia,
Harpagus, who is screened with an umbrella held by a slave, which is
the emblem of his sovereignty, and is in the act of receiving a
deputation from the besieged city. The next two fragments represent a
sally from the besieged town; and upon the 67th fragment is some
carving supposed to illustrate the retreat of the besieged to their
city. The groups marked (69,70,74) are fragments of the capping-stones
of the east front of the base, and columns and fragments of columns
from the peristyle. Those groups, however, marked (75-84), which
consist of the statues originally placed in the intercolumniations of
the building, are figures of divinities, with various symbols at their
feet, as the dolphin, the halcyon, &c., and are meant to represent, by
the flow of the drapery, that they ar