DOI Page / Citation link:
https://doi.org/10.11588/diglit.4376#0014
CONTENTS. Xlll
fragments. The lions. The frieze of the Order. Two other
friezes. Reliefs in panels. General theme of the sculpture ;
how far to be inferred from existing remains. Connection of the
my tli of Amazons with the early history of Caria. The quadriga
probably a symbol of the reception of Mansolus among heroes.
Analogous representations on Roman imperial coins. General
character of the sculptures of the Mausoleum. Their corre-
spondence in style with our preconceived notions of the school
of Scopas. Head of Mausolus an early example of the Ideal
portrait. The sepulchral chambers within the Mausoleum.
Their contents probably similar to those deposited in other
royal tombs, such as the Koul Oba and the sepulchre of
Cyrus............................................................2}a9e 213
CHAPTER IX.
Description of Halicarnassus by Vitruvius. Its correspondence
with the actual site. Existing remains of the ancient walls.
The Myndus Gate. The tower on the Theatre Hill. Temple
of Mars. Agora. The closed port. The palace of Mausolus ;
its probable position. The fortress of Salmacis. The fountain
Salmacis, and Temple of Yenus and Mercury. Citadel in the
island now occupied by the Castle of St. Peter. Promontory
Zephyrium. Doric colonnade near the Temple of Mars, perhaps
the stoa of Ptolemy mentioned in an inscription. Temple of
Demeter and Persephone. Tombs on the Theatre Hill. Extra-
mural cemeteries at Kislalik,—on the road to Myndus, and
elsewhere. Reservoirs and aqueducts. Paver mentioned by
Scylax, not now to be found................................2xl96 265
CHAPTER X.
Former discovery in this field of a torso. Extensive foundations
laid bare by our excavations. Tessellated pavements. Upper
Level. Room A.—Subjects of the mosaics. Sunk square in
the centre. Room B.—Atalanta and Meleager. Dido and
^Eneas. The Seasons. Room C.—Group of Amphitrite and
Tritons. Fish. Room E.—Heads representing the three cities,
Halicarnassus, Alexandria, and Berytus. Lower Level. Passage
fragments. The lions. The frieze of the Order. Two other
friezes. Reliefs in panels. General theme of the sculpture ;
how far to be inferred from existing remains. Connection of the
my tli of Amazons with the early history of Caria. The quadriga
probably a symbol of the reception of Mansolus among heroes.
Analogous representations on Roman imperial coins. General
character of the sculptures of the Mausoleum. Their corre-
spondence in style with our preconceived notions of the school
of Scopas. Head of Mausolus an early example of the Ideal
portrait. The sepulchral chambers within the Mausoleum.
Their contents probably similar to those deposited in other
royal tombs, such as the Koul Oba and the sepulchre of
Cyrus............................................................2}a9e 213
CHAPTER IX.
Description of Halicarnassus by Vitruvius. Its correspondence
with the actual site. Existing remains of the ancient walls.
The Myndus Gate. The tower on the Theatre Hill. Temple
of Mars. Agora. The closed port. The palace of Mausolus ;
its probable position. The fortress of Salmacis. The fountain
Salmacis, and Temple of Yenus and Mercury. Citadel in the
island now occupied by the Castle of St. Peter. Promontory
Zephyrium. Doric colonnade near the Temple of Mars, perhaps
the stoa of Ptolemy mentioned in an inscription. Temple of
Demeter and Persephone. Tombs on the Theatre Hill. Extra-
mural cemeteries at Kislalik,—on the road to Myndus, and
elsewhere. Reservoirs and aqueducts. Paver mentioned by
Scylax, not now to be found................................2xl96 265
CHAPTER X.
Former discovery in this field of a torso. Extensive foundations
laid bare by our excavations. Tessellated pavements. Upper
Level. Room A.—Subjects of the mosaics. Sunk square in
the centre. Room B.—Atalanta and Meleager. Dido and
^Eneas. The Seasons. Room C.—Group of Amphitrite and
Tritons. Fish. Room E.—Heads representing the three cities,
Halicarnassus, Alexandria, and Berytus. Lower Level. Passage