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https://doi.org/10.11588/diglit.4376#0071
HISTORY OP CARIA. 55
Tirnotheus; a fifth sculptor, who seems to be the
same as Pythios,v the architect of the tomb, made
the chariot group on the summit. The material was
Parian marble of the finest quality. In the descrip-
tions of this monument which have been handed
down to us, its extreme costliness is especially dwelt
on—a statement which has been amply borne out
by the discovery of its remains in situ.
Doubtless Artemisia employed on this edifice a
portion of the wealth which Mausolus had accumu-
lated by his ingenious arts of extortion, and which,
after the manner of Oriental monarchs, he must
have stored up in a royal treasury, as the heirloom
of his house.
It seems probable, as is stated by two late Byzan-
tine authors, that Mausolus himself commenced this
tomb,w in accordance with a practice which has pre-
vailed till a very recent period among some of the
native dynasties of India."
The extreme grief of Artemisia for the loss of
her husband is said to have been the cause of her
death, which took place B.C. 351.y Her short reign
T On the probable identity of these artists see Brunn, Geschichte
d. bild. Kuenstl., whom I have followed in reading Pythios instead
of Phileus,—Vitruv. vii. Prssf. 12.
w Eudoc. 'lama, ap. Villoison, Anecd. Grtec. i. p. 286. Nicetas,
Sehol. on Gregor. JSTazianz. Opera, Paris, 1611, ii. p. 782. Phil.
Byzant. de Spect. ed. Orell. Lips. 1816, p. 144, as this passage
lias been restored by Ste. Croix, Chronologie des Princes de Carie,
Memoires de l'lnstit. Classe d'Hist. ii. p. 540, note 3. See ibid.
p. 539.
x Ferguson, Handbook of Architect, i. p. 117.
y Theopompus, as quoted by Harpokration, s. v. ''Aprs^iiiria. Cic.
Tusc. Disp. iii. 23.
Tirnotheus; a fifth sculptor, who seems to be the
same as Pythios,v the architect of the tomb, made
the chariot group on the summit. The material was
Parian marble of the finest quality. In the descrip-
tions of this monument which have been handed
down to us, its extreme costliness is especially dwelt
on—a statement which has been amply borne out
by the discovery of its remains in situ.
Doubtless Artemisia employed on this edifice a
portion of the wealth which Mausolus had accumu-
lated by his ingenious arts of extortion, and which,
after the manner of Oriental monarchs, he must
have stored up in a royal treasury, as the heirloom
of his house.
It seems probable, as is stated by two late Byzan-
tine authors, that Mausolus himself commenced this
tomb,w in accordance with a practice which has pre-
vailed till a very recent period among some of the
native dynasties of India."
The extreme grief of Artemisia for the loss of
her husband is said to have been the cause of her
death, which took place B.C. 351.y Her short reign
T On the probable identity of these artists see Brunn, Geschichte
d. bild. Kuenstl., whom I have followed in reading Pythios instead
of Phileus,—Vitruv. vii. Prssf. 12.
w Eudoc. 'lama, ap. Villoison, Anecd. Grtec. i. p. 286. Nicetas,
Sehol. on Gregor. JSTazianz. Opera, Paris, 1611, ii. p. 782. Phil.
Byzant. de Spect. ed. Orell. Lips. 1816, p. 144, as this passage
lias been restored by Ste. Croix, Chronologie des Princes de Carie,
Memoires de l'lnstit. Classe d'Hist. ii. p. 540, note 3. See ibid.
p. 539.
x Ferguson, Handbook of Architect, i. p. 117.
y Theopompus, as quoted by Harpokration, s. v. ''Aprs^iiiria. Cic.
Tusc. Disp. iii. 23.