interim-catastrophic. Cyrus discovers in the _enceinte_ of
Sardis the usual weak point--an apparently impregnable scarped rock,
which has been weakly fortified and garrisoned--takes it by escalade in
person with his best paladins, and after it the city.

But of course he cannot expect to have it all his own way when not quite
twelve-twentieths of the book are gone, and he finds that Mandane is
gone likewise; the King of Pontus, who has practically usurped the
authority of Croesus, having once more carried her off--perhaps not so
entirely unwilling as before. Cyrus pursues, and while he is absent the
King of Assyria (Philidaspes) shows himself even more of a "Philip
Devil" than usual by putting the captive Lydian prince on a pyre,
threatening to burn him if he will not reveal the place of the
Princess's flight, and actually having the torch applied. Of course
Cyrus turns up at the nick of time, has the fire put out, rates the King
of Assyria soundly for his violence, and apologises handsomely to
Croesus. The notion of an apology for nearly roasting a man may appear
to have its ludicrous side, but the way in which the historic pyre and
the mention of Solon are brought in without discrediting the hero is
certainly ingenious. The Mandane-hunt is renewed, but fruitlessly.

At the beginning of Part VII. there are--according to the habit noticed,
and in rather extra measure as regards "us" if not "them"--some
interesting things. The first is an example--perhaps the best in the
book--of the elaborate description (called in Greek rhetorical technique
_ecphrasis_) which is so common in the Greek Romances. The subject is an
extraordinarily beautiful statue of a woman which Cyrus sees in
Croesus's gallery, and which will have sequels later. It, or part of it,
may be given:

[Sidenote: The statue in the gallery at Sardis.]

But, among all these figures of gold, there was to be seen
one of marble, so wonderful, that it obliged Cyrus to stay
longer in admiring it than in contemplating any of the
others, though it was not of such precious material. It is
true that it was executed with such art, and represented
such a beautiful person, as to prevent any strangeness in
its charming a Prince whose eyes were so delicate and so
capable of judging all beautiful objects. This statue was of
life-size, placed upon a pedestal of gold, on the four sides
of which were bas-reliefs of an adm